And in places Paul roots and conflates belief in crucifixion with baptism (and ties them to salvation).
Jesus' Crucifixion is Largely Based on Psalm 22
Re: Jesus' Crucifixion is Largely Based on Psalm 22
An Early Depiction of a Crucifixion
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Abstract
The “Crucifixion Gem” in the British Museum is the earliest known Christian depiction of the crucifixion [''produced around the same time [as], or a little earlier than, the more famous Alexamenos graffito in Rome'']. This paper identifies new features in the central three lines of the obverse inscription. The name Maria is partially spelt out across the fifth line, positioned at the centre of the whole inscription. There is also an alternating alpha-omega theme that runs all through the central three lines. In particular, the name Maria is interlinked symmetrically with an alternating pattern of three alphas and two omegas. Probabilities have been calculated to check that these features are non-random. The probability of finding something as close to the name Maria is 1 in 1,100, the probability of the entire alpha-omega pattern is only 1 in 390,000, and the probability of the interlinked sequence is 1 in 35,000. In each case, we can rule out chance. I explore a connection with the “Thomas Code”, [a] formula involving the prime numbers two and three that I have proposed was used to structure the Gospel of Thomas. The alpha-omega pattern is explained if the number three, representing the Father, has been translated into alpha and the number two, representing the Son, into omega. The Thomas Code in alpha-omegas has been interlinked with “Maria” at the centre of the inscription. Several other features of the inscription support the hypothesis that the designer was aware of the Thomas Code.
... the gem was undoubtedly produced by Christians. The stone is tiny, measuring only 3cm by 2cm, and could be as early as 170-190 AD.1 In many ways, it is typical of the “magical gems” produced in Syria and Egypt in the second and third centuries. But what is not typical is that the gem depicts the crucifixion. Although such visual representations of the crucifixion became very common later, they are scarce indeed in the early centuries. The gem features the crucified Jesus on the obverse and an inscription in Greek on both obverse and reverse. This paper depends heavily on the reading of the obverse inscription as set out in a recent paper by Roy D. Kotansky. The Kotansky paper clarifies some of the inscription letters which have been hard to discern; it, in turn, uses the prior work and photographs of Jeffrey Spier. Another useful resource is a book chapter, “Picturing the passion” by Felicity Harley-McGowan which places the gem in its early context and compares it to similar objects and images.2
https://jesusorigins.com/wp-content/upl ... on-Gem.pdf
1. Roy D. Kotansky, The Magic ‘Crucifixion Gem’ in the British Museum, Greek, Roman, and Byzantine Studies 57, 2017, pp.631–659, n.5.
The Mysteries of the Crucifixion Gem
Abstract
The “Crucifixion Gem” in the British Museum is the earliest known Christian depiction of the crucifixion [''produced around the same time [as], or a little earlier than, the more famous Alexamenos graffito in Rome'']. This paper identifies new features in the central three lines of the obverse inscription. The name Maria is partially spelt out across the fifth line, positioned at the centre of the whole inscription. There is also an alternating alpha-omega theme that runs all through the central three lines. In particular, the name Maria is interlinked symmetrically with an alternating pattern of three alphas and two omegas. Probabilities have been calculated to check that these features are non-random. The probability of finding something as close to the name Maria is 1 in 1,100, the probability of the entire alpha-omega pattern is only 1 in 390,000, and the probability of the interlinked sequence is 1 in 35,000. In each case, we can rule out chance. I explore a connection with the “Thomas Code”, [a] formula involving the prime numbers two and three that I have proposed was used to structure the Gospel of Thomas. The alpha-omega pattern is explained if the number three, representing the Father, has been translated into alpha and the number two, representing the Son, into omega. The Thomas Code in alpha-omegas has been interlinked with “Maria” at the centre of the inscription. Several other features of the inscription support the hypothesis that the designer was aware of the Thomas Code.
- the-crucifixion-gem-a.PNG (317.11 KiB) Viewed 4987 times
... the gem was undoubtedly produced by Christians. The stone is tiny, measuring only 3cm by 2cm, and could be as early as 170-190 AD.1 In many ways, it is typical of the “magical gems” produced in Syria and Egypt in the second and third centuries. But what is not typical is that the gem depicts the crucifixion. Although such visual representations of the crucifixion became very common later, they are scarce indeed in the early centuries. The gem features the crucified Jesus on the obverse and an inscription in Greek on both obverse and reverse. This paper depends heavily on the reading of the obverse inscription as set out in a recent paper by Roy D. Kotansky. The Kotansky paper clarifies some of the inscription letters which have been hard to discern; it, in turn, uses the prior work and photographs of Jeffrey Spier. Another useful resource is a book chapter, “Picturing the passion” by Felicity Harley-McGowan which places the gem in its early context and compares it to similar objects and images.2
https://jesusorigins.com/wp-content/upl ... on-Gem.pdf
1. Roy D. Kotansky, The Magic ‘Crucifixion Gem’ in the British Museum, Greek, Roman, and Byzantine Studies 57, 2017, pp.631–659, n.5.
- link to a pdf version of the paper available via, https://grbs.library.duke.edu/article/view/15935
and available here https://www.academia.edu/34056103/The_M ... ish_Museum
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The Inscription
YIE
PATHPIH
COYXPICTE
COAMNWA
MWAWIA
EHIOYW
APTANNA
LYCIOY
[Y]I[OY]
Note: the large lower-case omega - ω - is represented here as “W”.
The Inscription
YIE
PATHPIH
COYXPICTE
COAMNWA
MWAWIA
EHIOYW
APTANNA
LYCIOY
[Y]I[OY]
Note: the large lower-case omega - ω - is represented here as “W”.
Some of this makes sense in Greek—and some does not. A pattern of three groups of three is apparent, and the following is the translation of the first and last groups by Kotansky:
[1] O Son,
[2] Father,
[2-3] O Jesus Christ
[4-6] (Analysed below)
[7] O Crossbeam of
[8] the redeeming
[9] Son
[2] Father,
[2-3] O Jesus Christ
[4-6] (Analysed below)
[7] O Crossbeam of
[8] the redeeming
[9] Son
The first three lines form the pattern; the Son, the Father, Jesus Christ. The oddest feature here is the repeat of Jesus, first as the Son and then as Jesus Christ, with the Father in between. So we get a formula which resembles the trinity but which is not the trinity.
The translation of the last three lines involves some issues. Kotansky goes through the arguments for interpreting the expression in line [7] as “crossbeam”. The Greek αρταννα is taken as a development of the uncommon word αρταννη, meaning “rope, noose or halter”. Kotansky interprets this as meaning not the ropes by which Jesus is hung, but the hanging device, the crossbeam. This reading seems sensible in the context of Jesus [portrayed as] hanging from the T-shaped cross. However, as we will see, the choice of word has been partly dictated by the three alphas in αρταννα. Rather than relating to just the crossbeam, it may have intended to refer to the whole crucifixion as a “hanging”.
Mary
The symmetry of the inscription has already become apparent; there are three groups of three, and the Son appears at the start and end. Our attention should be drawn to the centre of symmetry, the fifth line. It is here that we find the name of Mary (MAPIA) at the very heart of the inscription:
MWAWIA
One letter, rho, is missing and there are two interloping omegas. But four out of five letters are present, all in the correct order. And the line starts with the first letter and ends with the last two.
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Laurie goes on to discuss the alpha and the omega and his 'Thomas Code'' ...
Last edited by MrMacSon on Wed Sep 13, 2023 10:45 pm, edited 1 time in total.
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Ben C. Smith
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Re: An Early Depiction of a Crucifixion
Presumably the Alexamenos graffito is not a Christian depiction anyway.MrMacSon wrote: ↑Fri Dec 11, 2020 1:50 am.The Mysteries of the Crucifixion Gem
Abstract
The “Crucifixion Gem” in the British Museum is the earliest known Christian depiction of the crucifixion [''produced around the same time [as], or a little earlier than, the more famous Alexamenos graffito in Rome'']. ....
Presumably the graffito is an antitestimonium, as it were.Re: An Early Depiction of a Crucifixion
The graffito blasfemo. Poor Alexamenos.Ben C. Smith wrote: ↑Fri Dec 11, 2020 6:31 am Presumably the Alexamenos graffito is not a Christian depiction anyway.