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Ruha

In , a , Ruha (Classical Mandaic: ࡓࡅࡄࡀ, meaning 'spirit' or 'breath'), also known as Namrūs or Hiwat (Ewath), is a female celestial being and the queen of the (alma ḏ-hšuka), the underworld. She rules alongside her consort , the king of Darkness, and is the mother of the seven planets (Šuba) and twelve zodiac constellations (Trisar). As the daughter of Qin, the Mistress of Darkness, Ruha is associated with the lower, emotional, and feminine aspects of the , often portrayed negatively as embodying and , though some texts suggest aspects of and a complex role in cosmology.

Identity

Names and Epithets

In Mandaean scriptures, the primary name for this figure is Ruha, which translates to "spirit" or "psyche" and carries connotations of breath, wind, or even disease and evil in metaphorical usage. This term derives from the Semitic root underlying the Mandaic ruha, directly cognate with Hebrew ruach (meaning wind, breath, or spirit) and Arabic rūḥ (denoting soul or divine breath), emphasizing her role as a spiritual entity in cosmological narratives. The name appears throughout key texts like the Ginza Rabba, where it designates the queen of the World of Darkness in descriptions of dualistic forces. Alternative names for Ruha include Namrus and Ewath (also spelled Hiwat), which are employed in specific scriptural contexts to highlight her deceptive or vital attributes. Namrus functions as a direct synonym or title for Ruha, often in references to her influence within the dark realms, as noted in Mandaic glossaries compiling terms from the and related works. Ewath, an epithet meaning "life" or "being" in broader Mandaic usage, is applied to Ruha to underscore her illusory life-giving facade amid themes of and . Hiwat serves as a variant of Ewath, similarly linking to concepts of existence but tied exclusively to Ruha in cosmological passages. The Ginza Rabba employs numerous epithets for Ruha, many of which carry polemical weight to critique rival religious traditions, particularly . Prominent among these is Ruha d-Qudša (""), a deliberate inversion that portrays her as a malevolent force masquerading as divine inspiration, as seen in tracts like 1–2 and 6, where she deceives figures like (Šu or Nbu Mšiha d-Kadba, the false ). Other epithets, such as those evoking seduction (Ruha Mastanita, "Ruha the Seductress"), appear in creation myths to depict her role in ensnaring souls, reinforcing Mandaean dualism without direct endorsement of her power. These terms collectively frame Ruha as a revealer of false in the Ginza Rabba's left and right volumes, contrasting her with lightworld entities.

Genealogy and Abode

In , Ruha is depicted as the daughter of Qin, a female ruler and embodiment of darkness within the infernal hierarchy of the alma ḏ-hšuka, or . This parentage positions her as a native entity of the lower realms, emerging from the primordial forces of chaos and opposition to the . Qin's role as the "Mistress of Darkness" underscores Ruha's origins in a lineage tied to and material entrapment, distinct from the ethereal beings of the . Ruha holds the exalted position of queen over the , governing its tumultuous domains as a central to the luminous order above. Her primary abode is this realm, where she exerts dominion from fortified strongholds and navigates cosmic vessels like the sun-boat, symbolizing her influence over celestial and terrestrial cycles. Additionally, she rules the third maṭarta, a transitional watch-house or station in the cosmic ascent, where souls confront trials of and attachment before potential elevation. This layered authority reflects her intermediary status between utter and the fringes of redemption, though her realm remains a of sensory . Symbolically, Ruha embodies , ritual uncleanness—particularly menstrual —and the shadowy facets of that ensnare the in emotional turmoil and material bonds. These associations portray her as an emblem of flaws, such as desire-driven and bodily defilement, which hinder spiritual purity without rendering her purely malevolent; instead, she illustrates the 's vulnerable undercurrents in the struggle for . Her imagery often invokes planetary forces and dark waters, reinforcing her role in tempting souls toward over .

Family

Consorts and Siblings

In , Ruha is depicted as having a sister named Zahariel (also spelled Zahreil or Zahrail), who is associated with the planet and the figure of Ishtar in the . This sibling relationship positions Zahariel as a fellow entity among the dark forces, sharing in the pantheon's structure of opposition to the light worlds. Ruha's primary consort is her brother (sometimes rendered as Gafan), one of the lords and giants of the , with whom she forms a that establishes her foundational ties within the dark . This fraternal , described in the , reinforces alliances among the primordial beings of darkness and leads to the birth of her first child, . Later, Ruha enters an incestuous relationship with Ur, her son and the King of Darkness (also known as ), through which they produce the celestial luminaries, including the seven planets, twelve zodiac signs, and five monsters. These unions are portrayed as deliberate acts of consolidation, binding the dark entities in a web of that sustains their realm. These familial relations underscore Ruha's elevated status as the queen and leader of the dark forces, enabling her to govern the World of Darkness alongside Gaf and Ur in a ruling triad that orchestrates opposition to the celestial order. Textual accounts in the Ginza Rabba depict minimal overt conflicts within this family, instead emphasizing collaborative schemes, such as the apportionment of cosmic destinies and the agitation of the worlds through lust and deception, which solidify her authority over subordinate entities like the planets and zodiac spirits.

Children and Descendants

In , Ruha, the Queen of Darkness, bears her primary child through her union with her brother and consort , portraying as a monstrous entity embodying and the King of Darkness. This offspring, often depicted as a mighty or formed from black waters, later becomes Ruha's in an incestuous relationship that further expands her lineage. The Rba describes 's birth as a pivotal event in the , where Ruha, daughter of Qin, delivers this child after being taken to the upper world by Hibil-Ziwa, only to return and integrate into her dominion. From her union with Ur, Ruha gives birth to additional offspring that symbolize the material and astrological forces governing the earthly realm. After seven days of gestation, she produces the Seven Planets—demonic entities known as the Sibiahia or malaki (angels), including figures like Samis (the Sun, associated with deceit), Sin (the Moon, imperfection), and others such as Nbu (Mercury), Kiwan (Saturn), Bil (Jupiter), and Nirig (Mars)—who rule over the days of the week and influence human destinies with malevolent intent. A subsequent gestation of twelve days yields the Twelve Zodiacal Constellations (trisar malwašia), such as Daula (Aquarius) and others representing the houses of the zodiac, which divide time into months, hours, and seconds while perpetuating disorder and opposition to the World of Light. These beings, along with potential further descendants like the Five Monsters from a third union, function as daiwi (demonic forces) under Ruha's command, populating and structuring the World of Darkness as rulers of the flawed material cosmos. The descendants of Ruha and Ur, particularly and , hold cosmological significance as intermediaries that allot fates, tempt souls, and enforce the hierarchical order of , often disavowing their origins while assisting in the of imperfect forms like . These entities embody the astrological powers that Mandaean texts condemn as tools of deception and entrapment, reinforcing Ruha's role as the progenitor of all celestial wickedness that hinders ascent to the divine realms.

Cosmological Role

Captivity and Role in Creation

In Mandaean cosmology, Ruha, the queen of the , was captured and led out from her realm by the lightbeing Ziwa during his descent into the lower worlds to combat chaotic forces. Ziwa, using a talisman for protection, brought the pregnant Ruha to an upper intermediary realm, where she was confined behind seven walls, including an iron barrier, under the oversight of figures like Akrun to neutralize her disruptive potential. This captivity narrative underscores themes of containment, preventing Ruha's unbridled influence on the cosmic order. During her confinement, which lasted thousands of myriads of years, Ruha gave birth to , depicted as a giant or great earth dragon symbolizing earthly and . In a moment of emotional manipulation, Ziwa promised Ruha that she would see the light after bearing Ur, but upon the birth, he withdrew, leaving her in and deepening her association with themes of deception and unfulfilled longing. Ruha subsequently mated with Ur, producing the seven planets and the twelve zodiac signs, which Mandaean texts portray as agents of fate and material entrapment. In the act of world-creation, Ruha collaborates uneasily with , the demiurge-like tasked by higher light forces with shaping the material realm from primordial waters. Together, they form the physical structures of the world and , with Ruha providing the vital breath (ruha) that animates bodies, yet lacking the authority to instill the divine soul (nišimta) from the . This limitation results in soulless creations—mere vessels animated by impure spirit—highlighting Ruha's flawed participation and the necessity for lightworld intervention to endow .

Founding of Jerusalem and Interaction with Envoys

In Mandaean cosmology, Ruha, as the queen of the underworld and a principal adversary of the lightworld, directs the construction of Jerusalem to establish a stronghold of material and spiritual entrapment. Commanding her seven planetary sons—often identified as Shamish (the sun), Sin (the moon), and the five visible planets—she initiates the project, drawing upon forbidden mysteries to erect the city as a center of immorality, corruption, and opposition to divine truth. This act symbolizes Ruha's broader efforts to bind humanity to the dark world, transforming a physical locale into a metaphysical snare for souls seeking ascent to the World of Light. The founding encounters immediate opposition from lightworld envoys, particularly Anush , a dispatched to thwart Ruha's schemes. As Ruha and her forces begin building near , Anush appears and admonishes her, prophesying that 365 Mandaean disciples will emerge within the city walls, preaching and converting its inhabitants away from her influence. Despite these warnings, Ruha persists, relocating the construction site multiple times—first to Beth-Mtallale and then to Krakh-Nsab—before completing , only for Anush to later orchestrate its destruction as retribution for the persecution of those disciples. This confrontation underscores Ruha's adversarial role, positioning not as a holy site but as a battleground where dark forces clash with emissaries of (the Great Life). Ruha's deceptions extend to key human figures to reinforce the city's entangling power, as seen in her interactions with . Upon Adam's death and ascent to the World of Life, Ruha tempts (Hawwa) into excessive, noisy mourning, a ritual act condemned in as binding the soul to sorrow and preventing proper . By exploiting Eve's , Ruha seeks to perpetuate cycles of within the earthly realm exemplified by , further illustrating her opposition to lightworld goals of spiritual liberation. These episodes highlight Jerusalem's ultimate symbolism as a monument to Ruha's dominion, where her descendants, including the seven planets, enforce illusions that hinder gnostic awakening.

Redemption

In Mandaean cosmology, Ruha, despite her association with the forces of darkness and her current flawed state as a ruler in the , holds the potential for through a process of purification and reintegration into the . This path involves her eventual merger with her dmutha, the ideal counterpart or pure spiritual archetype that resides in Mšunia Kušṭa (the Abode of Truth), allowing her to shed the contaminating influences of the material world and the seven planets under her dominion. Scholars interpret this as a transformative ascent, where Ruha's inherent yearnings for the light—evident in her moments of ambivalence and longing in the texts—facilitate her salvation, symbolizing the ultimate reconciliation of dualistic elements within the Mandaean framework. The textual basis for Ruha's redemption is rooted in the , particularly passages in the that contrast her present entrapment in darkness with her future elevation. For instance, descriptions of Ruha's spiritual struggles and her interactions with light beings hint at an eschatological resolution where she ascends, purified, to unite with her dmutha, achieving wholeness beyond her role as a deceiver of souls. This narrative underscores a non-absolute in , where even fallen entities like Ruha are not eternally condemned but capable of restoration through and cosmic order. Jorunn Jacobsen Buckley highlights these references to argue that Ruha's story reflects a redemptive arc, drawing on her portrayal as a complex figure influenced by both dark and luminous origins. This theme of Ruha's redeemability carries broader implications for understanding duality and in Mandaean , emphasizing the salvific potential of feminine and emotional dimensions often demonized in her current form. It addresses scholarly debates positing Ruha as wholly irredeemable, instead positioning her as a redeemable aspect of the spirit (ruha) that parallels the soul's toward . By integrating emotional volatility with purifying , her illustrates Mandaeism's optimistic view of cosmic , where all elements, including those tainted by the world, can return to their primordial purity in the .

Revealer of Gnosis

In , Ruha functions paradoxically as a revealer of within Tibil, the earthly realm dominated by material illusions, despite her origins as a figure of . As a associated with and the forces of the , she nonetheless discloses spiritual that aids Mandaean figures in discerning truth amid falsehoods, reflecting her complex nature as a fallen entity retaining fragments of lightworld wisdom. This revelatory role underscores her , where her disclosures inadvertently advance purposes aligned with the lightworld, even as she remains opposed to it. A key example appears in the , where Ruha interacts with the light envoy Hibil Ziwa during his descent into the darkness realms. Disguised and employing enchantment, Hibil Ziwa confuses Ruha, prompting her to reveal critical secrets, including the gimra umrara—the two great treasures of hidden knowledge concerning creation and the structure of the worlds—which enable his mission and broader enlightenment efforts. This episode illustrates how Ruha's possession of , derived from her pre-fall exposure to higher realms, serves to navigate Tibil's illusions, providing insights into the Lightworld's superiority and the mechanisms of cosmic deception. Further, in Ginza Rabba Book 6 (the Book of ), Ruha is depicted offering gnostic revelations to the Mandaean community, articulating knowledge of spiritual truths that mirror orthodox Mandaean teachings on and the soul's journey. These instances highlight her inadvertent contribution to lightworld goals, as her revelations equip believers to transcend material bonds, tying into her enduring duality as both and inadvertent guide. Scholarly analysis positions Ruha akin to a fallen in other Gnostic traditions, where her mobility across realms facilitates the transmission of salvific knowledge despite her malevolent intent.

As the Spirit

Distinction from Soul

In Mandaean , Ruha serves as the of ruha (), which encompasses the emotional, passionate, and lower elements tied to the material world and physical existence. This stands in stark contrast to nišimta (), the divine and luminous essence originating from the heavenly realm of light, untainted by materiality and oriented toward spiritual transcendence. The ruha is viewed as the breath of life that animates the body but also introduces vulnerability to sensory temptations and earthly attachments, while the nišimta embodies purity and the potential for , resisting the flesh to seek reunion with its divine source. Theological doctrine holds that humans are composite beings containing both ruha and nišimta, reflecting a inherent duality where the anchors the individual in the flawed cosmic order, often under Ruha's influence, and the soul strives for elevation beyond it. Purification of the ruha through baptismal rites and lustrations is essential to weaken its material bonds, enabling the nišimta to ascend unhindered; Ruha thus symbolizes the imperfect, seductive aspect of that must be subdued for spiritual salvation. This process underscores the Mandaean emphasis on ritual as a means to harmonize these components, preventing the spirit's dominance from derailing the soul's journey. Scriptural accounts in the exemplify this separation, portraying ruha's role in temptation as Ruha deceives figures like , luring them into entrapment within the sensory world and its planetary forces. Conversely, the nišimta's ascent is depicted as a triumphant release, passing through purifying stations like Mataratha where it is weighed and cleansed of ruha-induced impurities to reach the lightworld. These narratives highlight the ongoing conflict, with the spirit's emotional pulls contrasting the soul's innate divinity and redemptive path.

Representations in Mandaean Texts

In the , Ruha is prominently depicted as the queen of darkness and a primary to the forces of light, serving as the mother of malevolent entities such as the seven , the twelve zodiac , and various demons born from her unions with the or the King of Darkness. She plays a pivotal role in the creation of the material world, assisting the by infusing with a counterfeit that binds humanity to the earthly realm, though this is ultimately subverted by the true soul from the lightworld. Ruha's temptations are central to her mythology, as she employs seduction, sorcery, and illusions—such as offering wine, music, and the "secrets of love"—to entrap him and his descendants in sin and fornication, often assuming the form of to further her deceptions. These schemes are repeatedly thwarted by lightworld figures like Manda d-Hiia, who binds her and nullifies her spells, underscoring her position as a cunning leader of the underworld's chaotic forces. The Mandaean Book of John portrays Ruha, often as the "Lying Spirit" or simply "Spirit," in interactions that highlight her adversarial yet complex influence on prophetic and envoy figures, revealing a dual nature blending deceit with vulnerability. For instance, she provides worthless and wicked counsel to Yurba, which provokes divine intervention and leads to her being cast down from her throne by Hibil Ziwa, emphasizing her role in spreading pollution and captivity among the faithful. In dialogues involving envoys like Excellent Ennosh (Anosh-Uthra), Ruha's spirit is shown trapping Nazoraeans and Mandaeans in her domain alongside Ur, yet she is addressed and subdued through invocations of light, suggesting an underlying potential for redemption amid her malevolent actions. These encounters with prophets and envoys, such as her indirect opposition through the Seven and Twelve who seek to ensnare John, portray her as a source of affliction and falsehood, but also as a figure whose power is limited and reversible by divine authority. Modern scholarly interpretations, particularly Jorunn Jacobsen Buckley's analysis, rehabilitate Ruha by challenging the traditional view of her as purely demonic, instead presenting her as a fallen figure with ambiguous qualities and a soteriological trajectory toward salvation. Buckley highlights textual evidence where Ruha, though imprisoned in the lower realms, awaits liberation and ascends partially toward the lightworld, indicating her integration into Mandaean as a redeemable entity rather than an irredeemable adversary. This perspective addresses gaps in earlier characterizations by emphasizing her role in and the broader cosmological balance, drawing on traditions where she questions envoys like about ascent to the light, revealing layers of complexity beyond simple negativity.

Parallels in Other Traditions

Gnostic Parallels

In , Ruha bears striking parallels to , the divine of Wisdom in Gnostic traditions, particularly as a feminine entity whose actions contribute to the flawed material creation while embodying potential for revelation and redemption. Scholars compare Ruha to the Gnostic , a fallen wisdom figure, noting her complex role that blends destructive and illuminative elements within the cosmic drama. This resemblance highlights Ruha's depiction as a powerful female spirit whose passions and errors lead to the formation of the earthly realm, much like Sophia's unauthorized emanation in the that births the and the archons. Shared themes between Ruha and emphasize the duality of creation as both imperfect and revelatory, rooted in feminine emotionality. In Valentinian Gnosticism, as described by , Sophia's desire to comprehend the unknowable Father results in her "fall," producing a shadowy offspring () who fashions the material world in ignorance, yet this error sows the seeds of by embedding divine sparks in humanity. Similarly, Ruha's union with the forces of darkness in Mandaean texts engenders the world's rulers—Ur and the seven planetary sons—imposing a of over creation, but her occasional prophetic utterances reveal hidden truths to the elect. Both figures personify the volatile, passionate aspects of : Sophia through her "repentance" and plea for restoration, and Ruha through her turbulent emotions that oscillate between malice and momentary , underscoring a gendered of error tempered by redemptive longing. However, uniquely portrays Ruha's dominion as persistently dark and unrepentant, lacking Sophia's full return to the ; instead, her influence endures as an active ruler of the lower realms, emphasizing ongoing cosmic conflict over individual restoration. This distinction underscores 's adaptation of broader Gnostic motifs, transforming the fallen Wisdom into a more ambivalent antagonist whose revelatory potential persists amid her shadowy reign.

Other Religious Figures

In Mandaean tradition, Ruha shares conceptual parallels with , a prominent demonic feminine figure in , both depicted as seductive and malevolent entities associated with chaos and temptation. Like , who is portrayed in medieval Jewish texts as a night demon preying on infants and seducing men, Ruha is characterized as a queen of darkness who ensnares souls through deception and planetary influences, often invoked in bowls alongside similar female demons to ward off harm. Mandaean texts also present Ruha as a polemical inversion of the (Ruha d-Qudsha) in , reinterpreting the divine feminine spirit as a deceptive force aligned with falsehood and material entrapment. This critique portrays Ruha as the mother of in a derogatory sense, equating her with the biblical and contrasting sharply with the positive pneumatological roles in Abrahamic faiths, serving as a theological rebuke to rival monotheistic doctrines. Ruha's depiction draws influences from pre-Islamic Iranian and Mesopotamian traditions, particularly through associations with female daevas (demonic entities) in Zoroastrian cosmology, where such figures embody and opposition to divine . Mandaean demons, including Ruha's offspring like the planets (šuba) and zodiac signs (trisar), reflect borrowings from daevas and protective yet malevolent spirits, adapted into a dualistic framework that emphasizes Ruha's role as a ruler of the . Scholarship on Ruha highlights gaps, such as unverified connections to historical queens in traditions or broader links to regional spirit lore, which remain speculative due to limited textual evidence and the need for further comparative analysis of sources.

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