A Brief Note On Christians Were Persecuted, Tortured, And Enslaved By Rulers For Many Years Essay

Christianity was frowned upon by the Romans. The Roman Emperor wanted the people to worship him and the Roman Gods. Christians were blamed for many of the misfortunes that happened in Rome. Due to the belief that Christians were to blame they were ostracized, tortured and even killed.

Early Christian and Byzantine art started after Jesusí death in the first century ranging and ending to the fourth century AD. The art produced during this period was secretive because Christianity was not a formal religion but as a cult; the Romans and rest of Europe persecuted Christians so the artist disguised their work with symbols and hints of Christian aspects. Christianity was the first cult to not involve rituals of sacrifice of animals and refused to worship an Emperor causing the Roman Empire to make Christianity illegal. Byzantine art excelled in the Justinian period in the east during 520-540 AD. The art was produced in Ravenna, Byzantine, Venice, Sicily, Greece, and Russia. The

Christian art and iconography began, about two hundred years after the birth of Christ. Western Christian art and religious iconography was based on the classical art styles and imagery by the Ancient Romans. Medieval art iconography began to relate more to text of the Bible. Religious Christian art was created in the form of illuminated manuscripts, mosaics, and fresco paintings adorned churches. The colors of art were generally muted except those used in manuscripts and stained glass windows. Figures varied in sizes in relation their importance. Unlike artists in the Byzantine period who avoided making sculptures at all costs, Romanesque artists made sculptures which were often large, made of stone, and

From the third to the fourth century, the Roman Empire witnessed a widespread attempt to stop the spread of Christianity. Initially, leaders of the church were predominately targeted, but later anyone admitting to Christianity became a target. The persecutions hit a climax during Diocletian’s reign. These persecutions actually helped the spread of Christianity by glorifying Christians and beginning a tradition of martyrdom that shaped the Church, and the strength that Christians displayed shows that the persecutions could not have possible stopped the spread of Christianity.

1. The Christ as the Good Shepherd mosaic located on the entrance wall of the Mausoleum of Galla Placidia in Ravenna, Italy was made circa 425 AD. A mausoleum is a monumental tomb, usually meant for entombing the dead above ground. The mosaic is displayed in a lunette-a semi-circular wall of a vaulted room. Even though the image of Christ as the Good Shepherd was a common one in catacombs in previous centuries, the way that Christ was shown in art had changed since Christianity had been adopted as Rome's official religion and the image of Christ in the Mausoleum of Galla Placidia was no different. Previously Christ had been shown as a simple carpenter, but in the Christ as the Good Shepherd mosaic he is shown in a fine Roman wear. At the time, Greeks thought that they could create order within their environments and thus create statues that were "perfect." This is what they believed they were doing with the way Christ was shown in the mosaic at the Mausoleum of Galla Placidia; creating a more worldly, powerful image of Christ. Christ is shown with a large golden nimbus (halo), a royal purple mangle over a golden tunic and holding a tall cross. Also depicted in the mosaic at the Mausoleum of Galla Placidia is a set of three sheep on each side of Christ, with him touching one on the nose.

When thinking about the history of the world, one must always consider that merchants as well as trade have played an immerse role in shaping the world as it is today. They are responsible for many of the cross-cultural interactions that we have had in the past. Christianity and Islam, the two predominant religions of the world today, have both grown and spread through merchants and trade also. These two chief religions both have attitudes towards merchants and trade that have either developed or decreased overtime. According to these documents, from up to the year 1500, Christianity went from a negative view of merchants and trade to a positive view while Islam went from a positive view to a negative view, but both sides

The origin of the Crusades is rooted in political upheaval. The mid seventh century to the mid tenth century CE saw a gradual expansion of Islam (Riley-Smith 1). Half of the Christian world was conquered by Arab armies. This included countries in which Christianity had been established for centuries, such as Egypt, southern France, southern Italy, Sicily, Spain, Syria, and Turkey (Riley-Smith 2). By the late tenth century, Europe and the Middle East were divided into Christian and Muslim hemispheres of influence. Christian pilgrims from Europe regularly visited the Muslim-controlled Jerusalem. These pilgrimages were very popular.

With the adoption of Christianity as the official religion, art was able, so to speak, to come above ground in the old pagan city of Rome, and painting, instead of being restricted to the decoration of the walls of the Catacombs or of small chambers and chapels, came into use on a large scale in the new churches that were at once set up. At the same time patronage moved from the hands of the poorer classes to the richer, and artists of outstanding quality came to be employed as well as those of obscurer character, who would work for small fees (www.religion-online.org). To wall painting was added the more luxurious art of mosaic; numerous sculptures were done, and minor objects, often in expensive materials, were in addition produced in the service of the Church, so that art production became at the same time both more extensive and more luxurious (www.religion-online.org ).

The author's main purpose for writing A Myth of a Christian Nation is to explain how the world has claimed to be founded on christian principles but has neglected to see that this is a lie that we as christians and people in society have told ourselves to make it seem like we are “ one nation under God”. Boyd also focuses in on and introducing our role in the kingdom of God vs the kingdom of the world and our role in politics and society.

The Jewish community started Christianity, but Christianity later spread and convert from all over the Greco-Roman world were attracted by this religion during the progress of the first century CE. Ideas, traditions, ways of worship and traditions were brought along by the new convert of Christianity and it was adopted by their faith. This is through art because Christians who were once pagans of the Roman Empire stick to their artistic heritage when they became followers of Jesus Christ. Roman artistic forms and motifs and also Roman architecture were being used by this new convert to express their new faith. In further explanation, we’ll see how Roman art influenced the developing art of early Christians.

In contrast to the noble figure of Augustus, the piece titled “The Good Shepard” (300-350 AD. Marble. Height: 39 inches) which resides as a wall painting in the Catacomb of Calixtus, is an early symbolic representation of Christ as a Shepard (Mueso, Rome Web 2014). Symbolic images like these were common for the period of Early Christian art. It compares nicley to the Greco-Roman sculpture ( 3rd Century b.c.e) piece of the same name. A similar depiction can also be found at Dura Europas(Ceiling piece, fresco painting-seen in image below), in an ancient Christian meeting house (Klein Fred S. pg 210). Christ the Good Shepherd of the Twenty-third Psalm was often depicted as a beardless youth derived from the pagan god Apollo and with other ties to many Mediterranean mythologies. It is significant to note that the style of this painting with its loose impressionistic style and suggestion of a landscape echoes a category of ancient painting called sacral-idyllic landscapes.

The book The Clash of Gods: A Reinterpretation of Early Christian Art reevaluates fundamental pieces of Late Antiquity art, facing off with what author Thomas F. Mathews dubs the “Emperor Mystique,” an inclination to link images of Christ in this period to imperial iconography. In the first chapter, author Thomas Mathews makes a lofty claim: Late Antiquity art blanketed under the Emperor Mystique must be reassessed since art historians have tawdrily abused the theory to oversimplify Jesus’ iconographic identity. The author structures his chapter one argument into three points. First, he criticizes the idea of an unbroken art narrative consisting of a gradual flow from pagan art to Christian art, resulting in the Emperor Mystique mix of imagery as a key transition point. Then, he considers the Emperor Mystique’s prevalence in Late Antiquity. Finally, he moves on to the art historians chiefly responsible for the theory—Ernst Kantorowicz, Andreas

When Christianity was introduced as a successor to Judaism, Roman Empire’s official religion was still Paganism. As a result Christianity was a mystery religion in Roman Empire before it became an official Religion. In this period we do not see any churches, and people used to gather in a secret place in order to pray. These places were like ordinary homes, but they changed inside, so it could be used for religion purposes. A really good example of it is Dura Europos house church. It has a simple architecture, as we can see they even broke the wall inside the house to make it bigger as to serve gatherings. After Constantine declared Christianity as an official religion, everything changed. In this essay I aim to discuss how Roman art became Christian Art. In other words, I will explain how Romans used their art and style as a formula to create art based on Christianity principals.

Throughout history, Christianity always had a reputation, or a “name” following it. Different perspectives approached the reputation that was attached to Christianity in different manners. Justin Martyr and Porphyry had objectives when defining whether this “name” really defined Christianity and the past. They wondered whether the past really represented Christianity. Additionally they honed in on the question of was the past that people represented as Christianity really the roots of Christianity? All around Porphyry and Justin was perceptions of what Christianity rooted from and stood for.

Martyrs tells us that the earliest persecution came under the rule of Nero in the year 67