There is no fixed appearance for hushur and they usually varied throughout history.
Sometimes Hushur was presented as water, on other times as a person or a dragon. Sometimes exclusively male or female but most often as both united in one body. Gold and lapis lazuli and other deep blue gemstones tend to be associated in building his appearance.

In some smaller cults, he is associated with undeath due to his status as a dead god, thus some kind of skull and water symbol is united.
In the Henremdi belief, hushur was most often presented as a person, but in-group iconoclastic movements defaced most art belonging to him. Iconodulic believers, however, repaired the art with inlays of gold. Since the memory of his appearance has been forgotten, newer artists repeat the image of a faceless god covered in radiant rays of gold.

In some other beliefs, Hushur is entirely bodiless, or his body is beyond perception.

The void between heaven and hell, the sea and the sweet water; the primordial ocean and the she-and-he. Once the world was only one, his name was Azhtu, to us the merciful creator Hushur.
His name means voice, and his name means the cosmos and design; a plan, and thus he uttered the world.
From him, the sea and the sweet water parted, from the sea was birthed the sky covered in stars, from the sweetwater came the earth covered in life.

Although Hushur has certainly been worshipped long before humans have touched Amol-Kalit, it is uncertain by whom.
Any information of his being from then, as Azothu/Azthu is either too cryptic or hidden from the public eye.
But one thing is certain, his worship generally relates to the primordial ocean and the god is not only associated with water but also life, creation and the voice.

It is unclear how afterlife in his domain seems like, but most seem to equate existence there as being once more a baby in the womb, or as uniting one's consciousness with his.
The souls are supposedly taken there by angel-like beings by the name Azrail. They are either white or black in colour and quite iridescent. Their existence perhaps overlaps with that of the nightsingers.

The oldest known depiction of Hushur is as Azothu, however, there is a fair amount of belief that the origin of the contemporary Hushur lies as a mixture of the ancient but still worshipped gnoll deity Husit and Azothu.
It may even include hints from the Taboo deity; H҉i҉s҉h҉.

This list is ordered chronologically. His role as Azhtu/Azothu excluded due to a lack of living believers and a general lack of information and significant archeological documentation.

In the Annunaki pantheon, Hushur is a minor god, one of the hundreds. Since his influence is long irrelevant and in the domain of the primordial; and since other gods relate to more relevant aspects of life, like that of music, art, household and war, his worship is mainly limited to the minor cult of Hushur.
Even in the Annunaki pantheon, Hushur was considered a silent deity, which contributed to his lack of popularity. He would not answer to prayer or worship, nor grant advantage to his followers, nor would he present himself with avatars.

In some oral traditions, his silence is explained by Hushur being a dead god, murdered by the others, yet he is still praised and worshipped in spite of it. Others say he may have died during the creation of the world as a sacrifice to bring it life, while In other traditions, his mutism is instead considered to come forth from sacrificing his voice to be able to create the sky, sea and land from the primordial ocean with the spoken word.

It has to be noted that Hushur is presented as both a He and She, as both the sea and the sweet water. His shrines, if present are usually located around well sites or shores. Temples dedicated to him are rare.
However, his true temples, of which none remain have once been present around very special waters.

The cult of Hushur is a large sect within the Annunaki pantheon yet at the same time a separate organisation. The cult is henotheistic, thus the other deities are to a lesser extent still acknowledged, but Hushur stands above all as the chief deity.
The popularity of this cult rose due to many factors.
One of these is that Hushur is a reclamation and as a god creator, he has more leverage over the created world.
Secondly, the belief that to Hushur, all are equal, regardless of status, wealth or walk in life, is attractive to the common people. Thus, those that believe in him will have their soul spared from destruction, as long as they lived a good and virtuous life, or have suffered unspeakable pain.

This cult is now not as well represented, most of its members have since become Henremdists, who solely worship Hushur and are far more numerous.

Henremdis are monotheistic. Here Hushur, also known as Kalik or the 'god creator', 'god artist' and 'god maker', is the supreme deity.
Not only is the creation of the world attributed to him, but so is the creation of art likened to his domain, thus the title 'god artist'.
While most values and laws between the Henremdi are equal, the way how they view art has been split into two opposing forces.

The Heneri Henremdi are Iconodulic, they believe that art is something to be cherished and celebrated.
They created many grand temples, paintings and sculptures to celebrate Hushur or to celebrate the world he has created. Plenty of their art has been destroyed by anti-Heneris, but they have fought back by painting over the damaged sections with gold and continuing the praise the revitalised icons. One of the most important versions of depicting Hushur has thus become a person whose face is now a ray of gold that engulfs him. Some foreigners misinterpret the gold as the sun.

The Anti-Heneri Henremdi, however, are iconoclastic. Art is sacred to Hushur and Hushur only. Thus any simulacra of his creations are blatant mockeries and thus forbidden. The Anti-Heneri Henremdis have a history of defacing temples and art. They are still present and widespread, not only destroying the art of Hushur, but also the art of plant life, animals and icons of people and other gods.
As much as they are harbingers of destruction of pictorial art, they do also create their own. But it is overall rather geometric, abstract, heavily patterned or created out of letters.

The Sahiyi are a unique offshoot of Henremdism.
They refer to Hushur mainly as Kalik or by a title. But they do not believe that the title or any name embodies Kalik as he truly is. As per Sahiyi belief, Hushur is genderless and without a visual form and what images are used to represent Kalik, are not as how he is.

Sahiyi believe that Kalik is omnipresent and that he is both immanent and transcendent at the same time, that he is both not knowing and not not-knowing. They believe that only Kalik exists and that the whole reality of the living world is but a facet of Kalik's being. However one has to consider the distinction between the creator and created; the created is not the creator, the created is not divine but is more akin to a dream, for the dream is not the dreamer but is part of him.

The cult of Hushur is generally tolerated and not too far removed from the Annunaki Pantheon.
Hushur happens to also attract necromancers and his psychopomps tend to be favoured pets of theirs.
Henremdi and their offshoots are heavily prosecuted, this is not in part from being divergent but also from the iconoclastic anti-heneri henremdi, who also reap destruction over other art.

Notable Sahiyi are the members of the Shtakmat State.