as having originated from a white pearl that existed in pre-eternity. At the beginning of the time prior to the creation, God emerged from the cosmic pearl, which rested on the horns of a bull that stood on the back of a fish. After God and the pearl separated, the universe burst out of the pearl and became visible as waves rippled across from pearl to form the primeval Cosmic Ocean. As the pearl burst open, the beginning of the material universe was set in motion. (meaning 'love') came into being and was laid as the original foundation, colours began to form, and red, yellow and white began to shine from the burst pearl. The Yazidi religion has its own perception of the colours, which is seen in the mythology and shown through clothing taboos, in religious ceremonies, customs and rituals. Colours are perceived as the symbolizations of nature and the beginning of life, thus the emphasis of colours can be found in the creation myth. The colors white, red, green and yellow in particular are frequently emphasized. White is considered the color of purity and peace and is the main colour of the religious clothing of the Yazidis. Yazidi accounts of the creation differ significantly from those of the Abrahamic religions (Judaism, Christianity, and Islam), since they are derived from the Ancient Mesopotamian and Indo-Iranian traditions; therefore, Yazidi cosmogony is closer to those of Ancient Iranian religions, Yarsanism, and Zoroastrianism. Yazidi sacred texts The religious literature of Yazidis is composed mostly of poetry which is orally transmitted in mainly Kurmanji and includes numerous genres, such as (religious hymn), (poem), Du‛a (prayer), (another kind of prayer), (the Declaration of the Faith), (prayer for after a sacrifice), (literally 'under the veil', another genre), (Qasida), ‛ (literally 'listening'), and . The poetic literature is composed in an advanced and archaic language where more complex terms are used, which may be difficult to understand for those who are not trained in religious knowledge. Therefore, they are accompanied by some prosaic genres of the Yazidi literature that often interpret the contents of the poems and provide explanations of their contexts in the spoken language comprehensible among the common population. The prosaic genres include and (legends and myths), and and s (interpretations of religious hymns). Yazidis also possess some written texts, such as the sacred manuscripts called s and individual collections of religious texts called