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Early Christian art and architecture or Paleochristian art is the art produced by Christians or under Christian patronage from the earliest period of Christianity to, depending on the definition used, sometime between 260 to 525. In practice identifiably Christian art only survives from the 2nd century onwards.〔Jensen, 15-16〕 After 550 at the latest, Christian art is classified as Byzantine, or of some other regional type.〔Jensen, 15-16; van der Meer, F., 27 uses "roughly from 200 to 600".〕 It is hard to know when distinctly Christian art began. Prior to 100, Christians may have been constrained by their position as a persecuted group from producing durable works of art. Since Christianity was largely a religion of the lower classes in this period, the lack of surviving art may reflect a lack of funds for patronage, and simply small numbers of followers. The Old Testament restrictions against the production of graven (an idol or fetish carved in wood or stone) images (see also Idolatry and Christianity) may also have constrained Christians from producing art. Christians may have made or purchased art with pagan iconography, but given it Christian meanings, as they later did. If this happened, "Christian" art would not be immediately recognizable as such. Early Christians used the same artistic media as the surrounding pagan culture. These media included fresco, mosaics, sculpture, and manuscript illumination. Early Christian art not only used Roman forms, it also used Roman styles. Late classical style included a proportional portrayal of the human body and impressionistic presentation of space. Late classical style is seen in early Christian frescos, such as those in the Catacombs of Rome, which include most examples of the earliest Christian art.〔Syndicus, 10-14, 30-32; Jensen, 12-15〕 Early Christians adapted Roman motifs and gave new meanings to what had been pagan symbols. Among the motifs adopted were the peacock, grapevines, and the "Good Shepherd". Early Christians also developed their own iconography, for example, such symbols as the fish (''ikhthus''), were not borrowed from pagan iconography. Early Christian art is generally divided into two periods by scholars: before and after either the Edict of Milan of 313, bringing the so-called Triumph of the Church under Constantine, or the First Council of Nicea in 325. The earlier period being called the Pre-Constantinian or Ante-Nicene Period and after being the period of the First seven Ecumenical Councils.〔Jensen, 16〕 The end of the period of Early Christian art, which is typically defined by art historians as being in the 5th-7th centuries, is thus a good deal later than the end of the period of Early Christianity as typically defined by theologians and church historians, which is more often considered to end under Constantine, around 313-325. ==Symbols== During the persecution of Christians under the Roman Empire, Christian art was necessarily and deliberately furtive and ambiguous, using imagery that was shared with pagan culture but had a special meaning for Christians. The earliest surviving Christian art comes from the late 2nd to early 4th centuries on the walls of Christian tombs in the catacombs of Rome. From literary evidence, there may well have been panel icons which, like almost all classical painting, have disappeared. Initially Jesus was represented indirectly by pictogram symbols such as the ''Ichthys'' (fish), peacock, Lamb of God, or an anchor (the ''Labarum'' or ''Chi-Rho'' was a later development). Later personified symbols were used, including Jonah, whose three days in the belly of the whale pre-figured the interval between the death and resurrection of Jesus, Daniel in the lion's den, or Orpheus' charming the animals. The image of "The Good Shepherd", a beardless youth in pastoral scenes collecting sheep, was the most common of these images, and was probably not understood as a portrait of the historical Jesus.〔Syndicus, 21-3〕 These images bear some resemblance to depictions of ''kouros'' figures in Greco-Roman art. The "almost total absence from Christian monuments of the period of persecutions of the plain, unadorned cross" except in the disguised form of the anchor,〔''Catholic Encyclopedia,'' 1913, "Archæology of the Cross and Crucifix" (online )〕 is notable. The Cross, symbolizing Jesus' crucifixion on a cross, was not represented explicitly for several centuries, possibly because crucifixion was a punishment meted out to common criminals, but also because literary sources noted that it was a symbol recognised as specifically Christian, as the sign of the cross was made by Christians from very early on. The popular conception that the Christian catacombs were "secret" or had to hide their affiliation is probably wrong; catacombs were large-scale commercial enterprises, usually sited just off major roads to the city, whose existence was well-known. The inexplicit symbolic nature of many early Christian visual motifs may have had a function of discretion in other contexts, but on tombs they probably reflect a lack of any other repertoire of Christian iconography.〔Jensen, 22〕 The dove is a symbol of peace and purity. It can be found with a halo or celestial light. In one of the earliest known Trinitarian images, "the Throne of God as a Trinitarian image" (a marble relief carved c. 400 CE in the collection of the Prussian Cultural Heritage Foundation), the dove represents the Spirit. It is flying above an empty throne representing God, in the throne are a ''chlamys'' (cloak) and diadem representing the Son. The Chi-Rho monogram, XP, apparently first used by Constantine I, consists of the first two characters of the name 'Christos' in Greek. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Early Christian art and architecture」の詳細全文を読む スポンサード リンク
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