Zambelis Spyros
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Christ-Orpheus, 3rd century, Catacomb of Domitilla, Rome
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Orphicorum fragmenta, Otto Kern
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Zambelis Spyros
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''Though not nearly as common as the Good Shepherd motif, Christ also appears in early Christian art in the form of the Greek god Orpheus. This fresco of Christ as Orpheus is in the Catacombs of Peter and Marcellus in Rome, and dates from the 4th century. Another example of Christ as Orpheus is in the Catacomb of Domitilla.''
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Zambelis Spyros
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Zambelis Spyros
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Domitilla catacomb (Roman, 3 C AD) Orpheus
'The decorated ceiling of the Domitilla catacomb (Roman, 3 C AD) displays Orpheus as the shaman who tames the wild animals with his chanting and the sound of his lyre (Joseph Campbell, Creative Mythology, Figure 1). Among candidates for a Manitou figure in Greek mythology, Orpheus stands at the top of the list, along with Pan. Apollo, on the other hand, represents the intellectual solar deity or male sky god who opposed the autochthonous powers and becomes merged with Christ, as I explain in Chapter 2 of Not in His Image ("Pagan Roots").
Orpheus is a denizen of the Underworld, a healer (Iasius), and tamer of wild animals. The imagery of the Domitilla catacomb ceiling represents the final stage of a millennial tradition of sacred art that goes all the way back to Paleolithic cave paintings. That tradition was broken when the Christian redeemer was substituted for the Manitou-figure. Sacred art from the 3rd century onward puts Christ in the center of the Zodiac, even though redeemer theology clearly denies any significance to the animal world, and ignores the interspecies bond. ''
'The decorated ceiling of the Domitilla catacomb (Roman, 3 C AD) displays Orpheus as the shaman who tames the wild animals with his chanting and the sound of his lyre (Joseph Campbell, Creative Mythology, Figure 1). Among candidates for a Manitou figure in Greek mythology, Orpheus stands at the top of the list, along with Pan. Apollo, on the other hand, represents the intellectual solar deity or male sky god who opposed the autochthonous powers and becomes merged with Christ, as I explain in Chapter 2 of Not in His Image ("Pagan Roots").
Orpheus is a denizen of the Underworld, a healer (Iasius), and tamer of wild animals. The imagery of the Domitilla catacomb ceiling represents the final stage of a millennial tradition of sacred art that goes all the way back to Paleolithic cave paintings. That tradition was broken when the Christian redeemer was substituted for the Manitou-figure. Sacred art from the 3rd century onward puts Christ in the center of the Zodiac, even though redeemer theology clearly denies any significance to the animal world, and ignores the interspecies bond. ''
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Zambelis Spyros
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Zambelis Spyros
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Zambelis Spyros
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Zambelis Spyros
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Zambelis Spyros
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Zambelis Spyros
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Zambelis Spyros
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Orpheus charming the animals
Roman mosaic discovered at Blanzy-les-Fismes (Aisne), 4th century
Orpheus provides a link between the human, animal and supernatural worlds, through the magic of his music. Animals, being supremely sensitive to sounds, becoming his willing slaves. The purpose of the cult of Orpheus is to liberate the soul by the grace of music, acknowledging in doing so the influence that each has on the other.
Roman mosaic discovered at Blanzy-les-Fismes (Aisne), 4th century
Orpheus provides a link between the human, animal and supernatural worlds, through the magic of his music. Animals, being supremely sensitive to sounds, becoming his willing slaves. The purpose of the cult of Orpheus is to liberate the soul by the grace of music, acknowledging in doing so the influence that each has on the other.