Hubbry Logo
PazuzuPazuzuMain
Open search
Pazuzu
Community hub
Pazuzu
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Pazuzu
Pazuzu
Pazuzu
View on Wikipedia
from Wikipedia
This Assyrian bronze statuette of Pazuzu is 15 cm (6 inches) in height, from the early 1st millennium BC, held at the Louvre Museum.[1]

In ancient Mesopotamian religion, Pazuzu (Akkadian: 𒀭𒅆𒊒𒍪𒍪, romanized: pà.zu.zu)[2] is a demonic deity who was well known to the Babylonians and Assyrians throughout the first millennium BCE.[3] He is shown with "a rather canine face with abnormally bulging eyes, a scaly body, a snake-headed penis, the talons of a bird and usually wings".[3] He was believed to be the son of the god Hanbi.[4]

He was usually regarded as evil,[3] but he could also sometimes be a beneficent entity who protected against winds bearing pestilence[3] and he was thought to be able to force the demoness Lamashtu, his rival, back to the underworld.[5] Amulets bearing his image were positioned in dwellings to protect infants from Lamashtu[4] and pregnant women frequently wore amulets with his head on them as protection from her.[4]

As an apotropaic entity, he is considered as both a personification of a destructive and dangerous wind, but also as a repellant to other demons, one who safeguards the home from their influence. In particular he protects pregnant women and mothers, defending them from the machinations of Lamashtu. He is invoked in ritual and representations of him are used as defence charms.

Function

[edit]

Pazuzu has two chief aspects: firstly as a domestic spirit[6] wherein he is frequently portrayed as benevolent, and secondly as the wandering wind demon[6] traversing the mountains wherein he presents a wilder character.

Pazuzu as domestic protector deity

[edit]

There is a well documented use of Pazuzu in Mesopotamian white magic.[6] His inhuman and grotesque form can be inferred to[vague] have been used to frighten away unwanted guests, as well as prevent his wind-demon subjects from entering the home and wreaking havoc.[6] His role in magic and ritual is documented within inscriptions on the backs of his statues, or in ritual texts.[7] Spells, incantations, and special artifacts were used to gain the favour and protection of the demon,[8] such as artifacts being placed in and around the home or worn on the person to achieve the desired effect.

Protective objects

[edit]

Large numbers of Pazuzu heads have been discovered, made from a variety of materials; chiefly terracotta, but also bronze, iron, gold, glass, and bone.[9] These heads often feature holes or loops at the top, allowing them to be worn on necklaces by pregnant women in order to protect the baby from evil forces.[10] Occasionally, the heads would be attached to cylinder seals or worn as brooches as well.[11] Some of these heads have been found in graves.[12]

Carved amulets are common. Ritual texts from Uruk state that a woman could be given a bronze necklace or amulet of Pazuzu in order to protect her from miscarrying via the interference of Lamashtu.[13] Some are rectangular and depict Pazuzu either standing or crouching.[11] Larger amulets made from stone could be hung on the wall to protect the room or an entrance.[14] One of this type of amulet that was found inside a home in the Neo-Assyrian town of Dur-Katlimmu was lying on the floor of the main reception room[14] and was thought to have been hung on the wall facing the entryway.[14]

  • A bronze Pazuzu head, including a loop to be strung onto a necklace and worn as a protective charm.
    A bronze Pazuzu head, including a loop to be strung onto a necklace and worn as a protective charm.
  • The front of a copper alloy Pazuzu amulet from the British Museum.
    The front of a copper alloy Pazuzu amulet from the British Museum.
  • A red jasper carving of a squatting Pazuzu, the crouching posture suggesting his connection to the West Wind.[15]
    A red jasper carving of a squatting Pazuzu, the crouching posture suggesting his connection to the West Wind.[15]
  • This bronze pendant features a suspension loop to ensure that the demon's gaze is always directed outward; for example, with the demon's apotropaic power directed, not at the amulet's owner, but at the owner's supernatural enemies.[16]
    This bronze pendant features a suspension loop to ensure that the demon's gaze is always directed outward; for example, with the demon's apotropaic power directed, not at the amulet's owner, but at the owner's supernatural enemies.[16]

Given the number of artifacts uncovered, it can be inferred that Pazuzu enjoyed great popularity,[12] and the uniformity of the heads, amulets, and statues demonstrates that representations of the demon-god were mass-produced.[11]

Ritual texts

[edit]

Relating to the representations of Pazuzu, text inscriptions on the backs of representations or on tablets would invoke or otherwise mention Pazuzu.

A ritual text from Assyria prescribes a Pazuzu head as a way to banish sickness.[17] Similarly, a ritual incantation against Lamastu from the Late Babylonian Period directs the reader to make a Pazuzu necklace and hang it around the afflicted person's neck.[17]

In the bilingual (Sumerian and Akkadian) version of the Compendia, Pazuzu identifies himself:

"I am Pazuzu, son of Ḫanbu, king of the evil lilû-demons. I was enraged (in violent motion) against the strong mountains and ascended them."[18]

Another text also narrated by him describes Pazuzu encountering other lilû demons in his travels, and breaking their wings, therefore preventing them from inflicting harm. "I ascended a mighty mountain that shook, and the (evil) winds I encountered there were heading West; One by one I broke their wings."[13] In another text he is perceived as more malicious, as the narrator addresses him as "Agony of Mankind",[19] "Suffering of Mankind",[19] "Disease of Mankind",[19] and chants telling the demon to not enter the home.[19]

Iconography

[edit]

According to Eckart Frahm's study, the appearance of Pazuzu has remained fairly uniform throughout his history.[20] Pazuzu is depicted as a combination of diverse animal and human parts. His body is of canine form, though scaled not furred,[21] with birds' talons for feet, two pairs of wings, a scorpion's tail and a serpentine penis.[20] He holds his right hand up and his left hand down. His face is striking, with gazelle horns,[22] human ears, a doglike muzzle, bulging eyes, and wrinkles on the cheeks.[22]

Demonic relationships

[edit]

Parents and siblings

[edit]

His father is Hanbi.[4] , "The staggering one" or "The perverted one".[7]

Wind demons

[edit]

Lilû (wind) demons are the class to which Pazuzu and his subjects belong.[6]

There is a connection to the earlier Babylonian personifications of The Four Winds.[15] These beings, as depicted on several cylinder seals, have wings, and each represents a different wind direction; South, East, West, and North.[15] Franz Wiggermann calls attention to the crooked positioning of the masculine West Wind[15] in seals, as similar to posture in Pazuzu's iconography.[15] More connections appear in later seals, as this same bent-over figure takes on talons and a scorpion's tail.[15] The main difference in their depictions is the head, thus Wiggerman concludes that it is Pazuzu's body and not his head that denotes him as a wind demon.[15] Another scholar, Scott Noegel, asserts that Pazuzu's possession of four wings links to the term kippatu, meaning "circle, loop, circumference, and totality",[23] suggesting his control over all cardinal directions of wind inherited from his predecessors.[23]

Lamastu

[edit]

The baby-snatching Lamastu was attested as both a subject of[6] and an antagonist of Pazuzu. It is theorized that Pazuzu could have been created specifically as a counter to her. Initially she existed as an independent demoness, with no distinct connection to other demons.[15] Then in the Late Bronze Age she took on the lilû demon classification, thus Pazuzu was introduced as a way to chase her from the home and back into the underworld.[15] It does also seem to be that Pazuzu's first appearances and Lamastu's reassigning as a lilû both originate from the same time and place, the Middle Assyrian Empire, but this could be a coincidence.[15]

On one Lamastu amulet, a scene shows Pazuzu chasing the demoness away from her victim,[15] while another displays him destroying it.[24]

On a Neo-Assyrian bronze plaque, Pazuzu's head is perched above the top of the plaque, and a smaller version of him in the scene is chasing Lamastu away down a river.[25] Other protective spirits also appear in the plaque, including apkallu and other animal-headed demons, there to protect the person who is lying down on a bed.[25]

Bes

[edit]

Some scholars believe that Egyptian demon Bes is a counterpart of Pazuzu.[6][26] Both are known to be protector demons[27] in the home.[27] They have iconographic links: both having lion parts,[28] wings, a distinctly long phallus, and similar facial features.[29] There are noted similarities between the positioning of the two on protective amulets as well.[29] Another close connection is their association with the protection of pregnant women and mothers.[29][30]

There is evidence that the two were in each other's cultural spheres. A possible Pazuzu figure was found in Egypt,[29] as well as Bes amulets uncovered in sites in Iran.[29] In a seventh century era fort in Nimrud, five Pazuzu heads were found near a Bes amulet.[29]

One theory posits a connection in their names – that Bes, like Pazuzu, could have been derived from the king name Bazi[31] – although Pazuzu's name has not yet been proven to have originated from Bazi,[26] nor, it is speculated, has Bes's name been proven to be of foreign origin.[31]

Other protective demons

[edit]

On some amulets, Pazuzu appears alongside Ugallu and Lulal, protective deities who were thought to solely benefit mankind[32] thus their presences here may be apotropaic, or deployed to minimise Pazuzu's maleficent aspect.[32] Their common positioning on the back of the amulet out of sight of the viewer could suggest the latter.[32] They have also been present on the back of half-relief Pazuzu heads,[32] again out of sight.[32]

In Mesopotamian religion

[edit]

Pazuzu is the god of the southwestern wind and is associated with the plague.[1] Pazuzu was invoked in apotropaic amulets, which combat the powers of his rival,[33] the malicious goddess Lamashtu, who was believed to cause harm to mother and child during childbirth. He would protect humans against any variety of misfortune or plague.[34]

History

[edit]

According to Wiggermann, the Pazuzu figure suddenly appeared in the Early Iron Age.[6][15] His first visual depictions are not attested until the 8th century BC[20] with the first finds being in the tombs of Nimrud,[21] and his first appearances in texts trace to the 7th century BC.[20] The majority of his representations were found in the 7th and 6th centuries BCE, with the most recent finds dating back to the time of the Seleucid Empire.[12]

Name

[edit]

One speculation for the origin of the name of Pazuzu connects to Bazi, as named in the Tell Leilan version of the Sumerian King List, who was a king of Mari.[35] The name is followed by that of the succeeding king, Zizi. Bazi's name is preceded by Anbu, his father, who was suspected to have inspired the god Anbu, which later conflated into Hanbu,[36] Pazuzu's father. The theory goes that, given the connection between Anbu and Hanbu, it could be that the name Pazuzu is a construction of the following kings names: Ba-zi-Zi-zi.[37]

Like Pazuzu, Humbaba was used as a protector deity, with depictions of his frightening head being used to ward off evil.[26] It could therefore be speculated that the Pazuzu heads replaced those of Humbaba.[26] Humbaba fell from favour in the Late Bronze Age,[15] shortly before Pazuzu emerged, although the two do not share any great iconographic connection,[20] making it unlikely that Pazuzu could have evolved from the earlier deity.

Another speculation is that rather than Bes and Pazuzu having a common origin point, Pazuzu was an offshoot of Bes.[26]

[edit]

Pazuzu is most famous in western popular culture due to the 1971 novel The Exorcist and its 1973 film adaptation The Exorcist. In both instances, Pazuzu is the evil spirit that possesses the young girl Regan MacNeil.[38][39]

The virtual band Gorillaz used their own images of Pazuzu in their second album, Demon Days, and its follow up companion album D-Sides, cycle and tour as well as anything surrounding that album in future tours including the 2025 residency and exhibition at the Copper Box Arena. The band’s virtual singer 2-D is also sometimes pictured wearing a t-shirt that says Captain Howdy on it, a reference to the child character’s name for the demon who possesses her in The Exorcist.

See also

[edit]

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Pazuzu

View on Grokipedia
from Grokipedia
Pazuzu is an ancient Mesopotamian and apotropaic figure from Assyrian and Babylonian mythology, first attested in the eighth century BCE and prominent during the Neo-Assyrian period (c. 911–612 BCE), where he is described as the son of the god and the king of the evil wind demons. Appearance and Iconography
Depictions of Pazuzu portray him as a fearsome hybrid creature, combining elements of multiple animals and humans: a scaly, canine- or -faced head with bulging eyes and horns; a torso often shown winged; forepaws of a ; talons of an eagle or bird; a scorpion-like ; and a shaped like a snake's head, with his right hand typically raised in a menacing gesture. These composite features emphasized his otherworldly and terrifying nature, making him a potent in magical practices. Role and Protective Function
Though inherently malevolent as a demon associated with storms and disease, Pazuzu was paradoxically harnessed for benevolent purposes, particularly to combat greater evils such as the , who preyed on pregnant women, causing miscarriages, and infants, inflicting illness and death. This apotropaic role—employing "evil against evil"—led to his widespread use on amulets, figurines, and plaques inscribed with incantations proclaiming his dominion over harmful spirits, often worn or placed in homes to safeguard against supernatural threats during childbirth and early infancy. Archaeological finds, including bronze heads, glazed compositions, and limestone carvings from sites like and , attest to his popularity across first-millennium BCE . Cultural Legacy
Pazuzu's influence extends beyond ancient contexts into modern , most notably as the demon possessing the girl in William Peter Blatty's 1971 novel and its 1973 film adaptation, where his Assyrian statue serves as a key narrative element, reviving interest in Mesopotamian demonology. However, his primary significance remains in the religious and magical traditions of ancient Near Eastern societies, reflecting broader Mesopotamian beliefs in harnessing chaotic forces for protection.

Etymology and Name

Origin and Meaning

The name Pazuzu originates from the , where it is attested as pāzuzu and commonly spelled in as dpa.zu.zu across Neo-Assyrian and Neo-Babylonian texts. This spelling reflects phonetic variations in Assyrian and Babylonian scribal traditions, with the divine d indicating its status as a entity. The personal name Pazuzu itself appears in records dating back to the mid-third millennium BCE, suggesting early linguistic roots in Mesopotamian , though its demonic connotation emerged later. Scholarly analysis proposes a derivation from the Akkadian root pāzu, potentially connected to concepts of or motion, aligning with Pazuzu's later associations in incantations. However, no definitive Akkadian etymology has been established, leading to speculative links with Sumerian or Elamite origins, including an unproven connection to Bazi, a legendary of Mari listed in the Tell Leilan recension of the (written as dBa-zi). These proposals remain debated due to limited phonetic and semantic evidence. In primary texts, such as Sumero-Akkadian incantations, Pazuzu self-identifies with the epithet " of the lilû-demons" (šar lilê lemnūti), implying a meaning tied to demonic kingship and chaotic forces: "I am Pazuzu, son of Ḫanbu, of the lilû-demons." This interpretation fuels ongoing scholarly discussions about whether the name inherently denotes " of the demons" or more broadly evokes wind-induced chaos and destruction, as seen in descriptions of Pazuzu breaking the wings of harmful winds. No consensus exists, with analyses emphasizing the name's evolution from a possible personal identifier to a title of authority.

Historical Attestations

A possible fragmentary reference to [P]a-zu-z appears in Middle Assyrian texts (ca. 1100–1000 BCE), though this remains speculative. The earliest unequivocal textual references to Pazuzu occur in Assyrian incantations from the 8th century BCE, where he is invoked as a protective entity against malevolent forces, as seen in the Standard B incantation preserved on tablet BM 115521. These texts mark the first clear mentions of the demon in Mesopotamian , emphasizing his role in apotropaic rituals. Visual attestations of Pazuzu appear around the late 8th century BCE during the Neo-Assyrian period, contemporaneous with the earliest textual records and indicating an established iconographic tradition. Key examples include a fibula featuring Pazuzu's head, discovered in a royal woman's grave at and dated to ca. 8th–7th century BCE, which represents one of the earliest archaeologically contextualized images. Another prominent artifact is the bronze statuette in the (MNB 467), a 15 cm tall figure from dated to the 8th–7th century BCE, inscribed on the back with an Akkadian text identifying it as "I am Pazuzu, son of Hanpa, king of the evil lilû-demons of the wind." In the Neo-Babylonian period (late 7th–6th century BCE), Pazuzu's name and imagery persisted in protective amulets and incantations, reflecting continuity in magical practices. By the Seleucid period (4th–2nd century BCE), his attestations evolved to include bilingual Sumerian-Akkadian forms in ritual compendia, such as self-narrated incantations where Pazuzu describes his dominion over winds, adapting to Hellenistic influences while retaining core Mesopotamian elements. These later forms highlight the demon's enduring presence in scholarly and ritual texts amid cultural shifts.

Iconography

Physical Description

Pazuzu is depicted as a chimeric figure combining anthropomorphic and zoomorphic elements, creating a hybrid form. His head typically features a canine or leonine visage with unnaturally bulging eyes, prominent horns, a bearded , and a snarling mouth revealing fangs. The body is emaciated and in posture, standing bipedally with muscular yet scaled skin covering the torso and limbs, evoking a sense of otherworldly gauntness. Forepaws resembling those of a terminate in sharp claws, while the legs end in avian talons for gripping. Wings, often rendered as bat-like or feathered and appearing in two pairs, extend from the back, adding to the aerial demon's imposing . A curved tail protrudes from the lower back, and the genitalia are distinctly serpentine, with an erect penis morphing into one or more snake heads at the tip. These elements combine to form a symmetrical yet horrifying composition, with exaggerated proportions emphasizing the head and wings for visual dominance. Representations vary in scale and medium, from diminutive terracotta or amulets—often isolated heads typically ranging from 3 to 12 cm—to full-body statuettes reaching 15 cm in height, and larger reliefs or plaques up to 20 cm. Materials include (cast and molded for durability), (for carved heads), and clay (fired for everyday amulets), all crafted with fine detailing to highlight scaly textures and dynamic poses, such as raised arms or crouched stances. While core features persist across Neo-Assyrian and Neo-Babylonian artifacts from the 8th to 6th centuries BCE, these forms were frequently produced as protective amulets, capturing Pazuzu's fearsome appearance in miniature for personal use.

Symbolic Features

Pazuzu's wings and talons symbolize his dominion over and predatory power, reflecting his capacity to control chaotic natural forces such as the destructive northeast winds while providing apotropaic protection against evil. These avian features, often depicted in pairs, underscore his role as a swift guardian, capable of inflicting harm on threats or shielding the vulnerable, as seen in Neo-Babylonian representations where they evoke the mobility and dominance of raptors. The scorpion tail in Pazuzu's iconography represents the neutralization of venomous threats, transforming a symbol of peril into a tool for warding off malevolent entities like the demon . This feature harnesses the inherent danger of s—known in Mesopotamian lore for their sting—to counter demonic attacks, emphasizing Pazuzu's paradoxical ability to deploy chaos defensively. Gazelle-like horns on Pazuzu's head denote the taming of wildness for protective ends, signifying the controlled ferocity of untamed redirected toward safeguarding human life. These horns, evoking the agility and vigilance of gazelles, integrate elements of the into Pazuzu's form, illustrating how primal instincts are subdued to serve as barriers against supernatural harm. The erect , frequently rendered as snake-headed, functions as a ward against , countering threats to reproduction and newborn survival posed by demons. This ithyphallic attribute links Pazuzu to life-affirming potency, protecting fetuses and mothers by embodying generative force that repels sterility and sudden death. Pazuzu's overall —blending human, canine, avian, and reptilian traits—embodies chaos harnessed for order, positioning him as an apotropaic figure who channels disorder to maintain cosmic balance. This composite form aligns with broader Mesopotamian artistic motifs, such as the or , where hybrid beings serve as guardians by embodying and neutralizing threats through their very multiplicity.

Religious Role

Protective Functions

In Mesopotamian religion, Pazuzu served primarily as an apotropaic figure, invoked to safeguard households from harm, particularly in contexts involving vulnerable individuals such as pregnant women, newborns, and infants. His role positioned him as a counterforce to diseases and misfortunes attributed to demonic influences, especially against the demon who preyed on these groups, with incantations and rituals harnessing his power to avert such threats during and early infancy. This protective function extended to warding off afflictions like and other illnesses believed to stem from malevolent entities. Pazuzu's dual nature underscored his utility in demonology: while inherently malevolent as a bringer of destructive winds, he was strategically summoned in "white magic" practices to repel greater evils, embodying the principle of deploying a lesser terror against more dangerous ones. In this framework, his fierceness—manifested through a hybrid, form combining , animal, and avian traits—acted as a deterrent, repelling threats through and superior demonic rather than benevolence. This conceptual approach in Mesopotamian reflected a pragmatic where chaotic forces could be redirected for defensive purposes. His , featuring snarling faces and winged bodies, further amplified this protective aura by visually invoking fear in potential adversaries. Overall, Pazuzu's highlighted the nuanced balance in ancient Mesopotamian beliefs between peril and prophylaxis, where even a plague-associated could ensure domestic security.

Association with Winds

In Mesopotamian cosmology, Pazuzu was regarded as a of the destructive south and southwest winds, which were believed to bring , swarms, and atmospheric chaos to the . These winds were often depicted as malevolent forces capable of unleashing storms and disrupting the natural order, tying Pazuzu to broader beliefs in elemental that embodied environmental turmoil. As a wind himself, Pazuzu was invoked in texts to break the wings of these evil winds (šārū), employing a of like countering like to neutralize their power. Pazuzu's role extended to leadership over subordinate wind demons, particularly the lilû spirits, whom he ruled as king in ritual incantations. In these texts, he is described as ascending mountains to command his unruly subjects, ordering them to retreat and thereby averting the plagues and tempests they could unleash. This authority positioned him as a mediator against the chaotic potential of winds, which were seen as carriers of and disorder in the Mesopotamian worldview. During the Neo-Assyrian period, Pazuzu featured prominently in rituals aimed at calming tempests and mitigating weather-induced calamities, such as those documented in incantations where his intervention pacified wind demons to prevent widespread harm. These practices highlighted his dual essence as both a harbinger and controller of atmospheric forces, integral to exorcistic efforts that sought to restore cosmic balance amid destructive gales.

Mythological Relationships

Family and Origins

In Mesopotamian mythology, Pazuzu is described as the son of (variously spelled Hanpa, Hanbu, or Ḫanpu), the king of the evil lilû-demons, a figure who ruled over the underworld's malevolent spirits and thereby conferred a royal lineage upon Pazuzu within the demonic pantheon. This parentage is attested in primary texts where Pazuzu self-identifies as "son of Hanbi, king of the evil lilû-demons," underscoring his authority over lesser wind-related entities. Pazuzu's familial connections extend to a broader network of wind demons, including figures like (Ḫuwawa), positioning him as the most prominent among these chaotic entities in the hierarchical structure of Mesopotamian demonology. These associations highlight Pazuzu's elevated status, as he commands or counters the destructive tendencies of his kin, reflecting the interconnected nature of wind-born malevolences in the pantheon. The demon's emergence occurred in the early BCE, specifically from the 8th century BCE onward, during the , as part of evolving Mesopotamian demonological traditions that personified destructive winds. Pazuzu developed from earlier wind spirit motifs, such as the Babylonian conceptualization of the Four Winds, adapting their iconographic and narrative elements into a singular, potent entity to address apotropaic needs against environmental and supernatural threats. This evolution marked a deliberate innovation, breaking from Late precedents to integrate linguistic and visual symbolism in demonic lore.

Rivals and Allies

In Mesopotamian , Pazuzu's most prominent rivalry was with , a malevolent demoness who targeted pregnant women, infants, and the vulnerable by causing miscarriages, , and diseases. Incantations and rituals frequently invoked Pazuzu to repel , leveraging his dominion over evil winds to drive her back to the netherworld and prevent her from approaching humans. For instance, Neo-Assyrian and Neo-Babylonian plaques depict Pazuzu in pursuit of , symbolizing his role as her archenemy in , where he protects the afflicted by countering her invasive threats. Pazuzu also formed alliances with other apotropaic entities, reflecting cultural exchanges and shared protective functions. Through interactions between Mesopotamian and Egyptian traditions, Pazuzu syncretized with the dwarf-like demon , both serving as household guardians against supernatural harms; in amulets, Pazuzu's head often replaces Bes atop motifs, adapting Egyptian iconography to ward off demonic assaults on mothers and children. Similarly, Pazuzu appears alongside the lion-demon and the protective spirit Lulal in stamp seals and reliefs, where these figures collaborate to repel evil forces, emphasizing Pazuzu's integration into a broader network of benevolent demons. Scholarly analyses highlight Pazuzu's role in syncretic multi-demon rites, where he was invoked alongside other protective spirits to combat diverse threats like and demons. These rituals, documented in texts from the first millennium BCE, blended Pazuzu's wind-based powers with those of figures such as , creating composite defenses in asu (healer) and asipu () practices; this underscores Pazuzu's evolution from a solitary entity to a key player in holistic apotropaic systems.

Worship and Artifacts

Amulets and Statuettes

Pazuzu amulets and statuettes, primarily dating to the Neo-Assyrian period between the 8th and 6th centuries BCE, were crafted in materials such as terracotta, bronze, and limestone to serve protective functions in daily life. Terracotta heads, often molded with exaggerated demonic features like protruding fangs and bulging eyes, have been excavated from urban sites including Nimrud and Nineveh, where they were produced in large quantities for household use. Bronze pendants typically depicted Pazuzu's head or full figure, designed for suspension and portability, with examples recovered from Nimrud's royal tombs indicating elite patronage alongside commoner adoption. Limestone figurines, carved in relief or as freestanding heads, showcased finer detailing of the demon's hybrid traits and were unearthed at Nineveh, reflecting standardized iconographic motifs across Assyrian territories. These artifacts were strategically placed within domestic spaces or worn as personal adornments to ward off harm, particularly for vulnerable individuals. In homes, statuettes and heads were positioned on beds or near doorways in Nimrud residences, while pendants served as jewelry for mothers during pregnancy and childbirth, as evidenced by burial contexts at the site. Notable examples include a bronze statuette in the Louvre Museum's collection (MNB 467), a 15 cm high figure from Mesopotamia standing on clawed feet, and a pendant with Pazuzu's head at the Metropolitan Museum of Art, both illustrating the demon's fierce gaze intended to repel evil. A gold fibula adorned with Pazuzu's head, buried in a Nimrud queen's tomb, further highlights their role in elite protective rituals. Recent scholarly analyses since 2022 have emphasized the widespread distribution of these artifacts, revealing their prevalence in urban households across Neo-Assyrian centers like and . Studies of excavation data indicate that Pazuzu-head amulets outnumbered full-figure statuettes by a significant margin, suggesting and integration into for apotropaic purposes in densely populated areas. This pattern underscores Pazuzu's role as a accessible guardian, with terracotta and variants found in both palatial and modest dwellings, pointing to a democratized practice in 8th–6th century BCE .

Ritual Texts and Incantations

The ritual texts invoking Pazuzu, primarily from the Neo-Assyrian period, focus on apotropaic spells to counter demonic threats, especially during and infancy. These incantations, preserved in cuneiform tablets from the at (7th century BCE), emphasize Pazuzu's role as a counter-demon whose winds and fury repel entities like . Composed as part of broader exorcistic series such as Ḫul-bāšī ("Evil Be Gone"), the texts blend mythological self-presentation with commands for protection, often inscribed on or recited over artifacts. A key example is the Standard B incantation, a bilingual Sumero-Akkadian composition that introduces Pazuzu's pedigree and power. The Sumerian line reads: én gá-e d pà-zu-zu dumu d ḫa-an-bu lugal líl-lá-ḫul-a-meš, translated as "Incantation: I am Pazuzu, son of Ḫanbu, king of the evil lilû-demons," with the Akkadian counterpart: a-na-ku d pà-zu-zu DUMU d ḫa-an-bi LUGAL li-le-e lem-nu-tu. This formula, attested on multiple amulets and tablets, asserts Pazuzu's dominion over malevolent winds, positioning him as an ally against chaos. Subsequent lines, such as ḫur-sag kala-ga ba-an-ḫuš ba-an-e 11-dè gá-e-me-en ("I was enraged against the strong mountains and ascended them"), evoke his unchallenged ascent, symbolizing over natural forces. Translation of these bilingual texts presents challenges due to the ritualistic Sumerian, which retains archaic phrasing not fully paralleled in Akkadian, requiring philological reconstruction from variants in Ashurbanipal's collection. Scholars highlight how the Sumerian preserves pre-Akkadian demonological motifs, while Akkadian glosses adapt them for contemporary use, as seen in discrepancies across manuscripts like K 2985 and Sm 1311. These incantations command Pazuzu explicitly, with phrases like "Rise up against , scatter her winds," to invoke his aid in repelling infant-devouring demons. Ritual procedures in the texts specify performative elements, such as reciting the seven times over a Pazuzu figurine while naming his epithets—"King of the Evil Lilû-Demons"—before burying it under a threshold or to guard the . During , the spell was intoned to summon Pazuzu's stormy presence, deterring Lamashtu's entry, often culminating in the figurine's placement near the birthing bed. These steps, detailed in series like Maqlû and anti-Lamashtu rituals, underscore the integration of text and action to activate Pazuzu's protective ferocity.

Historical Development

Origins and Timeline

Pazuzu first emerged as a distinct demonic figure in Mesopotamian during the Early , toward the end of the second millennium BCE. The earliest potential textual reference to his name, [P]a-zu-z, appears in a Middle Assyrian document dating to approximately 1100–1000 BCE, serving as a chronological marker for his initial conceptualization. Visual representations of Pazuzu, characterized by his hybrid form, began to appear in the BCE, representing a deliberate departure from earlier Mesopotamian demonic traditions and signaling his integration into apotropaic practices. Pazuzu's veneration reached its peak during the Neo-Assyrian period, from the 8th to the 6th centuries BCE, when he became a central entity in Assyrian and Babylonian demonology. This marked his widespread adoption as a protective wind , particularly in household rituals aimed at countering threats like the Lamashtu, with numerous attestations in texts and iconography from major urban centers such as and . After the Neo-Babylonian Empire's collapse in 539 BCE, Pazuzu's prominence waned during the Achaemenid period under Persian rule, reflecting broader shifts in religious emphases. Nonetheless, his cult endured into the Seleucid era (3rd–1st centuries BCE), with lingering evidence of his iconographic use in magical contexts amid Hellenistic influences in Mesopotamia. Pazuzu's origins reflect syntheses from pre-existing Mesopotamian traditions, including influences from Sumerian wind gods such as those embodied in the figure of Ḫuwawa (Humbaba), whose leonine head motif contributed to Pazuzu's apotropaic symbolism. Additionally, elements of Hurrian mythology, particularly wind deity iconography from Mitannian cylinder seals associating southern winds with goddesses like Šauška, shaped his hybrid attributes and storm-bringing role.

Influence in Later Periods

Pazuzu's iconography and associated incantations persisted into the Hellenistic era, particularly during the Seleucid period (c. 312–63 BCE), where evidence from Babylonian libraries and amulets indicates continued use in apotropaic rituals. A Babylonian version of the Standard B incantation invoking Pazuzu was preserved in a Seleucid library at Uruk, demonstrating the demon's role in warding off malevolent forces like Lamashtu even after the conquest of Mesopotamia by Alexander the Great. Similarly, Pazuzu-head amulets inscribed with protective texts have been found in contexts dating to the Seleucid and overlapping Parthian periods (c. 247 BCE–224 CE), such as a bronze statuette from Tanis, Egypt, suggesting the figure's enduring appeal in magical practices across the Near East. In the Hellenistic context, Pazuzu's hybrid form—combining human, avian, and leonine features—may have undergone with Greek concepts of , intermediaries between gods and humans, as Mesopotamian motifs influenced broader Mediterranean . While direct textual evidence is sparse, the presence of Pazuzu artifacts in regions under Greek cultural influence points to adaptations where his protective yet fearsome attributes aligned with entities in Greco-Roman traditions. Scholars have proposed possible indirect influences of Pazuzu and related Mesopotamian demon figures on Jewish during the Babylonian ( BCE), when Judeans encountered Akkadian lore that shaped concepts of malevolent spirits in texts like the . This exposure may have contributed to hybrid ideas of wind-borne demons in post-exilic Jewish writings, though specific Pazuzu attributions remain unconfirmed. Early , emerging in the 1st–4th centuries CE, similarly drew from broader Near Eastern traditions via Hellenistic intermediaries, potentially echoing Pazuzu's duality as both harbinger of plague and protector against worse evils, but without explicit references. Archaeological and textual evidence for Pazuzu diminishes sharply after the CE, with no significant revivals in religious or magical practices during or the medieval period, reflecting the decline of traditions under Roman, Sassanian, and Islamic rule. Interest in Pazuzu reemerged in the 19th and 20th centuries through Western scholarship, spurred by excavations at sites like and , which uncovered amulets and plaques, and systematic studies in that reconstructed his role from tablets.

Film and Literature

Pazuzu features prominently as a malevolent possessing in William Peter Blatty's 1971 novel , where it targets the young , manifesting through grotesque physical and psychological torment to embody ancient Assyrian evil. This depiction prioritizes horror, portraying the entity as a corrupting force that defiles innocence, diverging from its historical Mesopotamian role as a protective wind demon. The 1973 film adaptation by amplifies these elements through visceral sound design, including distorted voices and eerie drones, which represent Pazuzu as disruptive "noise" invading human order during the possession scenes. In the franchise's sequels and prequels, Pazuzu's appearances continue to emphasize horror tropes of demonic recurrence and , often sidelining historical nuance. For instance, in Exorcist II: The Heretic (1977), the returns to possess again, linking her trauma to Merrin's past encounters in and escalating the supernatural conflict with locust swarms and psychic visions. (1990), based on Blatty's 1983 novel Legion, extends Pazuzu's influence by merging it with the Gemini Killer's soul to orchestrate murders, focusing on psychological dread and institutional corruption. The prequels Exorcist: The Beginning (2004) and Dominion: Prequel to the Exorcist (2005) depict Merrin's initial confrontation with Pazuzu during a Kenyan archaeological dig, portraying it as an ancient evil awakening mass hysteria and violence. However, the 2023 reboot shifts away from Pazuzu, introducing a new unnamed to possess multiple victims, prioritizing contemporary horror dynamics over franchise continuity. Beyond the Exorcist series, Pazuzu appears in Lovecraft-inspired horror literature that fuses Mesopotamian mythology with cosmic dread, such as Jeffrey Thomas's short story "Pazuzu's Children" (1997), where the demon's offspring unleash plague-like horrors during the , blending ancient lore with existential terror. These portrayals often draw briefly on Pazuzu's traditional —such as its canine face and winged form—for visual menace in narrative descriptions.

Music and Modern Media

Pazuzu, the ancient Mesopotamian demon associated with wind and protection against other malevolent forces, has found a prominent place in modern music through the virtual band Gorillaz. The entity's imagery appears on the cover of the band's 2007 compilation album D-Sides, a release tied to their 2005 breakthrough Demon Days, where Pazuzu symbolizes chaos and demonic themes central to the band's lore. This integration reflects Gorillaz's fascination with occult and mythological figures, extending Pazuzu's influence into contemporary pop culture. In 2025, during the band's 25th anniversary House of Kong immersive exhibition and concert at London's Copper Box Arena, thematic elements including a prominent statue of Pazuzu were featured in the accompanying exhibition, tying back to Demon Days performances and reinforcing the demon's role in the band's visual and narrative universe. In video games, Pazuzu serves as a key antagonist drawing directly from Mesopotamian lore, particularly in horror titles that blend ancient mythology with supernatural terror. The 2021 release The Dark Pictures Anthology: House of Ashes, developed by Supermassive Games, portrays Pazuzu as a bloodthirsty underworld demon awakened in ancient Akkadian ruins, where soldiers confront its curse during a modern conflict in Iraq; the game's narrative emphasizes Pazuzu's dual nature as both destroyer and apotropaic ward against greater evils like Lamashtu. Indie horror games have similarly revived Pazuzu for atmospheric storytelling rooted in cultural heritage. For instance, the point-and-click mystery My Father Lied (demo released 2024, full release November 5, 2025) by Lunar Games incorporates Pazuzu into a Lovecraftian tale of family secrets and Mesopotamian occultism, challenging Western misconceptions by highlighting the demon's protective role in ancient Assyrian beliefs. The 21st-century revival of scholarly and interest in Pazuzu has permeated and documentaries, often exploring its origins beyond popularized horror depictions. like Stuff to Blow Your Mind's "From the Vault: The Demons of Ancient " (2024 ) delve into Pazuzu's role as a wind demon invoked in exorcisms, drawing from Babylonian texts to discuss its apotropaic amulets and rituals. Similarly, Black Mass Appeal's "The Pazuzu " (2023) examines the entity's popularity in circles, noting its adoption in modern neopagan practices as a guardian against chaos. Documentaries such as the feature "Pazuzu - The Mysterious Demon of Sumerian Mythology" (2025) by historical channels provide visual reconstructions of Pazuzu artifacts, emphasizing its influence on contemporary discussions of ancient in media. These formats contribute to a broader cultural reclamation, positioning Pazuzu as a complex figure in revivals rather than solely a cinematic .

References

  1. https://www.britishmuseum.org/collection/object/W_1983-0101-66
  2. https://isac.uchicago.edu/collections/highlights/highlights-collection-mesopotamia
  3. https://www.usu.edu/markdamen/ane/lectures/8.3.pdf
  4. https://www.penn.museum/sites/expedition/demons-and-population-control/
  5. https://www.britishmuseum.org/collection/object/W_1962-0514-1
  6. https://www.academia.edu/2922372/Evil_against_evil_The_Demon_Pazuzu
  7. https://brill.com/downloadpdf/book/edcoll/9789004368088/BP000014.pdf
  8. https://www.academia.edu/126723405/2024_Pazuzu_the_Newcomer_to_the_Mesopotamian_Demon_World
  9. https://www.metmuseum.org/exhibitions/listings/2014/assyria-to-iberia/blog/posts/pazuzu
  10. https://www.bmimages.com/preview.asp?image=00032634001
  11. https://collections.louvre.fr/en/ark:/53355/cl010120489
  12. https://escholarship.org/content/qt3p25f7wk/qt3p25f7wk.pdf
  13. https://is.muni.cz/el/phil/podzim2017/PAPVB_36/pantheon_and_pandemonium/Wiggermann__The_Mesopotamian_Pandemonium_298-322.pdf
  14. https://brill.com/view/book/edcoll/9789004368088/BP000014.xml
  15. https://www.historyextra.com/period/ancient-history/ancient-mesopotamian-demon-pazuzu-hero/
  16. https://www.academia.edu/503964/The_Four_Winds_and_the_Origins_of_Pazuzu
  17. https://doi.org/10.1163/15692124-12341295
  18. https://brill.com/view/journals/jane/18/1/article-p86_3.xml
  19. https://escholarship.org/content/qt3p25f7wk/qt3p25f7wk_noSplash_6013045d9cb706dfb3fc07646ae120ec.pdf
  20. https://tuscriaturasarchivos.home.blog/wp-content/uploads/2018/12/F.-A.-M.-Wiggermann-Mesopotamian-protective-spirits_-the-ritual-texts-1992-BRILL.pdf
  21. https://revistas.ucm.es/index.php/EIKO/article/download/73338/4564456555289/4564456602468
  22. https://researchportal.helsinki.fi/files/115626046/Konstantopoulos_They_are_Seven_Sebettu.pdf
  23. https://collections.mfa.org/objects/164557
  24. https://www.metmuseum.org/art/collection/search/327485
  25. https://brill.com/display/book/edcoll/9789004368088/BP000014.xml
  26. https://www.jstor.org/stable/44646409
  27. https://www.jstor.org/stable/4199778
  28. https://www.academia.edu/2196071/The_Antediluvian_Origin_of_Evil_in_the_Mesopotamian_and_Jewish_Traditions_A_Comparative_Study
  29. https://www.supernaturalstudies.com/previous-journal-issues/vol-9-issue-1/cueva
  30. https://www.revenantjournal.com/wp-content/uploads/2018/03/Michael-Brown-1.pdf
  31. https://screenrant.com/the-exorcist-demon-pazuzu-mythological-inspirations-explained/
  32. https://www.syfy.com/syfy-wire/the-exorcist-believer-does-not-feature-pazuzu-director-confirms
  33. https://www.sfsite.com/03a/hc243.htm
  34. https://gorillaz.fandom.com/wiki/Pazuzu
  35. https://digitalcommons.chapman.edu/cgi/viewcontent.cgi?article=1653&context=cusrd_abstracts
  36. https://www.euronews.com/culture/2025/05/21/house-of-kong-gorillaz-to-celebrate-25th-anniversary-with-immersive-exhibition-and-concert
  37. https://www.thesun.co.uk/tvandshowbiz/36216976/gorillaz-band-new-london-exhibition/
  38. https://gamerant.com/dark-pictures-house-of-ashes-pazuzu-lore-explained/
  39. https://www.newsweek.com/who-pazuzu-dark-pictures-anthology-house-ashes-1599737
  40. https://store.steampowered.com/app/2488850/MY_FATHER_LIED/
  41. https://www.iheart.com/podcast/105-stuff-to-blow-your-mind-21123915/episode/from-the-vault-the-demons-of-301206645/
  42. https://www.spreaker.com/episode/pazuzu-the-ancient-demon-still-influencing-our-world-podcast-106--66909725
  43. https://irepod.com/podcast/black-mass-appeal-for-the-modern-satanist/episode-157-the-pazuzu-episode
  44. https://www.youtube.com/watch?v=tEBDm2g7k2c
Add your contribution
Related Hubs
User Avatar
No comments yet.