Syncretic Christianity - Sean Buchholz

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Much of what we consider today to be Christian imagery actually has its origins in ancient pagan religions. This gallery seeks to explore some of the imagery appropriated and syncretized by Christian leaders during the transitional period in which Christianity became the dominant religion in Europe and the surrounding areas.

Disc brooch with cross representation, Foto: AMH, Middle Age, From the collection of: Hamburg Archaeological Museum
These disc brooches, dating to the Middle Ages, bear representations of equal-armed crosses—a symbol common to a number of pre-Christian religions and world myths. In this particular case, it is possible or even likely that the cross symbolism, especially in its equal-armed form circumscribed in a circle as shown here, comes from Norse mythology as Odin's Cross, also sometimes called a Sun Cross.
Here we see another example of the equal-armed Sun Cross, along with a triquetra near the top of the silver piece; a triangular shape comprising three interlocking vesica pisces, or "fish bladder" shapes. Along with the Sun Cross, the triquetra was later used in its common form as a symbol of the Christian trinity, but each of its lobes also resembles the Ichthys or "Jesus Fish" shape.
Fragment of Coptic fabric with the tree of life, Unknown, 8th – 10th centuries, From the collection of: Museu Nacional d'Art de Catalunya - MNAC, Barcelona
The Tree of Life, sometimes also known as the World Tree, is a common archetype among world mythologies. Here, we see a depiction of the World Tree on a swatch of fabric from Coptic Egypt, one of the longest-standing Christian communities in the Middle East. The use of the Tree of Life in Christian mythology is well-known within the context of the story of Adam and Eve, who eat fruit from the Tree of Knowledge of Good and Evil and condemn mankind to a life of sinfulness. The tree motif, however, can be dated at least as far back as pre-Islamic Persia.
Coptic bracelet, Unknown, 0500/0800, From the collection of: Rijksmuseum van Oudheden
Another Coptic example, this bracelet includes Greek inscriptions believed to be "protective" in nature. This is reminiscent of the pagan practice of imbuing personal effects with charms or spells such as the Icelandic Vegvísir, a charmed inscription said to protect its bearer from harm and guide him home in rough weather. In addition to the protective Greek inscriptions are engravings of Christian saints, as well as geometric and floral motifs, securely identifying this item as Christian.
Book-Cover Plaque with the Crucifixion and Holy Women at the Tomb, Carolingian, ca. 870-880 (Medieval), From the collection of: The Walters Art Museum
This ivory book-cover plaque depicts a familiar scene from Christian mythology: the crucifiction of the prophet Jesus Christ. At the foot of the cross, its tongue wrapped around the vertical beam, lies a coiled serpent, representing the conquest of good, in the form of Christianity, over evil. The serpent motif has frequently been used as visual shorthand for the pagan religions and beliefs of the pre-Christian peoples of northern and Western Europe.
Pilgrim badge depicting St George and the dragon, 400/1500, From the collection of: British Museum
In this cast lead pilgrim badge, Christian martyr and saint George slays a dragon while the lady Una looks on in gratitude for being saved. It is commonly held that the dragon in the Saint George story represents pagan cults, as the story often includes elements of the dragon requiring sacrifices of sheep or, failing that, a young maiden. Saint George's defeat of the dragon therefore represents Christianity's conquest over the area's ancestral paganism. George was later executed by Emperor Diocletian for refusing to make sacrifice to the Roman gods.
Reliquary Panel of the Triumphant Christ, Mosan Workshop, Panel: late 11th century; Frame: 13th century (Medieval), From the collection of: The Walters Art Museum
In this Medieval reliquary panel, the Christian prophet and Messiah Jesus Christ triumphantly crushes underfoot a serpent and lion. As discussed in earlier examples, the serpent is often used as a stand-in for pagan cults and tribes, but the lion may also bear pre-Christian significance as Maahes, an Egyptian god of war and protection. Maahes is thought to be the son of the Egyptian creator Ptah, lending to an interesting parallel between that mythology and the Christian mythology of Jesus Christ as the earthbound son of the Christian God.
Brandon plaque, 800/850, From the collection of: British Museum
This gold plaque, likely of Saxon origin, depicts Saint John the Evangelist as an eagle-headed man. The eagle is a common motif in Christianity, often representing Saint John in the same way that, for example, the other three Evangelists are depicted with angel, lion, and ox. The eagle in particular, however, is also an important part of Norse mythology. According to Norse legend, atop the World Tree (another common mythological archetype) sits a giant eagle, and upon the eagle's brow perches the hawk Vedrfölnir. It is believed that the hawk represents the knowledge and wisdom of the eagle, flying out to acquire new information and bringing it back to the unnamed eagle. Saint John's gospel is the fourth and final gospel of the New Testament in the Christian Bible, and as such depicts the Christ narrative from a higher or more wise point of view than the other three Evangelists' gospels.
The Last Supper, Unknown, about 1030 - 1040, From the collection of: The J. Paul Getty Museum
In this tempera and gold-leaf depiction of the Last Supper from the early 11th century CE, Christ sits at the head of a table surrounded by his apostles. Among the items on the table, along with a goblet of wine and the Eucharist (again, echoing the equal-armed Sun Cross motif) sits a basket containing a fish. The fish is a common Christian motif but actually has roots deep in various pagan mythologies. Predating Christianity, it was commonly used as a symbol of fertility and birth. Other non-Christian traditions even today link the fish symbolism with reincarnation—fitting considering the story of Christ's resurrection which follows the Last Supper. The use of the fish in Christian iconography may be traced to the Greek acronym which translates to "Jesus Christ, Son of God, Savior," whose initial letters spell the Greek word for "fish."
Presentation of the Virgin in the Temple, Unknown, ca. 1050, From the collection of: The Morgan Library & Museum
This mid-11th-century manuscript depicts the presentation of the Virgin Mary, who would later give birth to the prophet Jesus Christ, by her parents Anna and Joachim. The figures posted atop the columns depict Spinario, a Roman artistic motif which at the time was also linked to fertility god Priapus. This connection is further hinted at by the small figures at the bases of the columns, which are meant to represent barren or infertile women embracing the pillars in a prayer for fertility. The abundance of pre-Christian fertility symbolism, coupled with the depiction of Anna and Joachim, who were childless well into Anna's old age, suggests that the habits, beliefs, and prayers of pre-Christian religions may have carried on long into Christianity's reign as the dominant religion in the West.
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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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