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The Resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the ''Life of Christ''. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends.〔Erwin Fahlbusch, Jan Milic Lochman, Geoffrey William Bromiley & John Mbiti ''The Encyclopedia of Christianity, Volume 5'' (2008) ISBN 0-8028-2417-X; p. 490〕 The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings. However, the moment of the Resurrection is not described as such in the Gospels, and for over a thousand years it was therefore not represented directly in art. Instead at first it was represented by symbolic depictions such as the Chi Rho, the first two Greek letters of Christ, encircled by a wreath symbolizing the victory of resurrection over death.〔Ross Clifford, Philip Johnson, ''The Cross Is Not Enough: Living as Witnesses to the Resurrection''. (Baker Books, 2012). ISBN 978-0-8010-1461-1; p. 95〕 Later various scenes that are described in the Gospels were used, and also the Harrowing of Hell, which is not. In Byzantine and later Eastern Orthodox art this has remained the case, but in the West the depiction of the actual moment of Resurrection became common during the Gothic period. ==Early period== In the Catacombs of Rome, artists just hinted at the Resurrection by using images from the Old Testament such as the fiery furnace and Daniel in the Lion's Den. The period between the year 250 AD and the liberating Edict of Milan in 313 AD saw violent persecutions of Christians under Decius and Diocletian. The most numerous surviving examples of Christian art from this period are paintings in the Catacombs of Rome. The Christians shunned cremation and preferred the practice of interment, to preserve their bodies for the Resurrection of the Dead, as Christ was resurrected from the dead. The depictions of the stories of Daniel and Jonah and the Whale in the Catacombs served as historical and Judaic precedents of salvation.〔Robert G. Calkins ''Monuments of Medieval Art'' (1985) ISBN 0-8014-9306-4; pp. 5–6〕 An early symbol of the resurrection was the wreathed Chi Rho, whose origin traces to the victory of Emperor Constantine I at the Battle of the Milvian Bridge in 312 AD, which he attributed to the use of a cross on the shields of his soldiers. Constantine used the Chi Rho on his standard and his coins showed a labarum with the Chi Rho killing a serpent.〔Robin Margaret Jensen ''Understanding Early Christian Art'' (2000) ISBN 0-415-20454-2; p. 149〕 The use of a wreath around the Chi Rho symbolizes the victory of the Resurrection over death, and is an early visual representations of the connection between the Crucifixion of Jesus and his triumphal resurrection, as seen in the 4th-century sarcophagus of Domitilla in Rome.〔(Sarcophagus of Domitilla )〕 Here, in the wreathed Chi Rho the death and resurrection of Christ are shown as inseparable, and the Resurrection is not merely a happy ending tucked at the end of the life of Christ on earth. Given the use of similar symbols on the Roman standard, this depiction also conveyed another victory, namely that of the Christian faith: the Roman soldiers who had once arrested Jesus and marched him to Calvary now walked under the banner of a resurrected Christ.〔Richard Harries ''The Passion in Art'' (2004) ISBN 0-7546-5011-1; p. 8〕 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「Resurrection of Jesus in Christian art」の詳細全文を読む スポンサード リンク
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