The development of a Jewish concept of resurrection: there is no concept of universal resurrection in the Old Testament, nor in Middle Eastern Antiquity generally. It is only the Greek trichotomic concept of a soul that makes the belief in resurrection possible. It is on this basis that the idea of the reuniting of body and soul begins to develop in the second century BC.
Discussion of the representation of Ezekiel, Chapter 37 in the Synagogue of Dura Europos, mid 3rd century A.D. The scene of the revivification.
Shows the methodological emphasis: analysis of the picture, as compared to the Bible text and to Rabbinic literature.
The fifth picture shows Greek Psyche figures with butterfly wings and indicates the infiltration of a late antique concept of creation and resurrection into Jewish thought. This is echoed in the writings of Josephus Flavius.
For comparison, Kurt Weitzmann’s analysis of the Prometheus Sarcophagus is used, the iconography of which also highlights trichotomic anthropology.
Trichotomic anthropology also exerts its influence on early Christian perception, as in Paul or Irenaeus, and on early Christian iconography, the creation of Eva in the so-called Trinity Sarcophagus, (the Dogmatic Sarcophagus, beginning of the 4th century and later in the hexaemeron cupola of San Marco, Venice, where the iconography harks back to the Cotton Genesis, Byzantium, 5th century. This late influence jars slightly with the fact that the teaching of trichotomy had been condemned in the Council of Rome (382).
The belief in an in-between stage between death and the Last Days develops in Judaism, as well as in Christianity. In late antique art this belief can be seen in the representations of Jonah sleeping under the gourd, relating to the classical iconography of the sleeping Endymion (Jonah Sarcophagus).
The concept of salvation in Old Testament iconography in late antique catacomb painting: in Christian catacombs this is expressed through a great number of scenes showing redemption or salvation. These scenes convey the hope of eschatological salvation. Closely related to this is the image of the Good Shepherd as Saviour, as taken from Roman culture. Believers are entitled to eschatological redemption through baptism and the Eucharist. Therefore the representations of baptism, the multiplication of the loaves, and ritual meals are frequently found in the catacomb paintings.
The counterpart in Jewish catacombs is seen in temple imagery referring to the eschatological third temple: The Jewish Catacomb Villa Torlonia.
Representations of Jesus: in the earliest catacomb paintings there is still no representation of the person of Jesus, with respect to Canon 36 of the Synod of Elvira, beginning of the fourth century. During this period, however, the figure of a youthful philosopher is occasionally depicted. After the fourth century Jesus appears in scenes of the resurrection of Lazarus, as conqueror over death, a thought closely linked to the theology of victory of the Roman emperors. The early representations of the passion distance themselves clearly from the crucifixion and from the suffering Jesus, (sarcophagus of Junius Bassus).
The Cross appears as the symbol of victory, of the Last Judgement and of the resurrection, (crux gemmata, Apses of Santa Pudenziana and Santi Cosma e Damiano)
Resurrection and ascension to God: this theme illustrates the close relationship between Jewish and Christian art. Moses’ ascent of Mount Sinai, (Byzantine manuscript, tenth century, or the mosaics of Santa Katharina Basilica, Sinai) is associated with the resurrection of Christ (Munich ivory from the year 400).
A central theme of early Christian and Jewish art is the representation of God. We do not find an anthropomorphic representation of God. God’s intervention is shown through images of God’s hand (Dura Europos Synagogue, Munich ivory).
The image of the ascension in the old Syriac Rabbula Gospel from the year 586 referring to the visions of Ezekiel can be set by side these early Christian representations. Here the figure of Christ rising in the radiance of a rainbow can be compared to the representations of the returning victorious emperors. Thus it transpires that the early Christian illustrations of the passion and resurrection are first and foremost about victory over death (Rabbula Codex, Ascension to Heaven).
Further sources can be found in: Kurt Schubert, Die Entwicklung der Auferstehungslehre von der nachexilischen bis zur frührabbinischen Zeit (The Development of the Teaching on Resurrection from post-exile to early Rabbinic times), BZ 6, 1962, p. 177-214.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here:
http://phaidra.univie.ac.at/detail_object/o:526664
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