Papers by Jutta Dresken-Weiland
Schnell & Steiner eBooks, 2016
Antiquité tardive, 2004
Research on Christian burial in sarcophagi (West, 4 th-6 th centuries) The paper gives a short pr... more Research on Christian burial in sarcophagi (West, 4 th-6 th centuries) The paper gives a short presentation of a Habilitationschrift (Göttingen, 2001), published in autumn 2003, on "Sarkophagbestattungen des 4.-6. Jhs. im Westen des Römischen Reiches". The author examines a corpus of sarcophagi (with inscriptions), ranging from the 3 rd to 5 th centuries, in order to study their ordinatores as a social body and to understand the ideological and religious significance of the use of sarcophagi rather than other type of burial. Many aspects of these questions are taken into account, like the distribution of the deceased according to gender and age, the social, ideological and religious meanings of the funerary iconography, the question of the visibility of both images and inscriptions and the availability of sarcophagi as semi-manufactured products. [Redaction] I. LES INSCRIPTIONS DES SARCOPHAGES
Antiquité tardive, 2015
The article asks for the role of laymen and clerics in the creation and genesis of catacombs in t... more The article asks for the role of laymen and clerics in the creation and genesis of catacombs in the 3rd century. Clearly, the interest in collective burial is a need of the faithful. It is an option, but not at all obligatory. The nuclei of 3rd-century catacombs show the presence of different groups of persons, which frequently do not allow drawing conclusions on their religious affiliation. The absence of Christian elements does not mean that the commissioners of the burial rooms were pagan; Christians may not have felt the need to express their faith. The intentions the commissioners determine the choice of epigraphic formulary and figural decoration. During the 3rd century, it seems that mostly laymen organizing them, women played a particular role in organizing relics and corpses of martyrs. Laymen also kept the memory of martyrs alive. The choice of a certain catacomb for the own interment was determined by personal relations.
Romische Quartalschrift Fur Christliche Altertumskunde Und Kirchengeschichte, 2006
La question la plus intéressante et la plus importante pour comprendre les images est celle de le... more La question la plus intéressante et la plus importante pour comprendre les images est celle de leur signification. Pourquoi a-t-on choisi cette image, et que nous apprend-elle sur ses commanditaires et son contexte historique et social ? Des réponses ne peuvent être apportées que lorsque le groupe des monuments sur lesquels on trouve cette image est suffisamment grand et quand les commanditaires et leur contexte social sont connus. C’est le cas des sarcophages paléochrétiens, sur les inscript..
F. Schlimbach, S. C. Kutsal (Hg.), Preguntando se llega a Roma. Festschrift für Achim Arbeiter zum 65. Geburtstag, Heidelberg 2023, 41–56, 2023
A gem depicting the resurrection of the dead and Christ's descent into the netherworld in the Bur... more A gem depicting the resurrection of the dead and Christ's descent into the netherworld in the Burton Y. Berry Collection in the Eskenazi Museum of Art in Indiana has been controversial in both its dating and authenticity. A parallel for the raising of the dead is provided by a scene on Ciborium Column D in San Marco in Venice, which can be dated to the Justinianic period on the basis of an examination of the iconography of all the cenes.
A review of the theological texts dealing with Christ's descent into the netherworld shows that this theologumenon must have been well known in the world of the Oikumene. Comparisons for all the elements of the iconography can be found in various representations, albeit mostly later ones. The gemstone fits into a group of closely comparable rock crystal gemstones in form and style. The setting with its suspension has parallels in the 6th century, although an origin in the 7th century cannot be ruled out.
Images of St. Peter belong to the most frequent themes of early Christian art. I do not intend to... more Images of St. Peter belong to the most frequent themes of early Christian art. I do not intend to give a survey of the different scenes in which Peter appears-I only refer to the study of Roald Dijkstra,1 who has most recently made an exhaustive list of all of them. In the entry "Petrus" of the Reallexikon für Antike und Christentum, published in 2015, various aspects of the research on Peter, such as Peter as a historical figure, the interpretation of Peter in early Christian literature and Peter in archaeology, were summarized in compact and reliable form.2 This enables to focus on the following questions: Which are the sources of the images of Peter? What did inspire them? How do they relate to the various texts under the name of Peter and to the theological discussions connected with his role? Do the images of Peter tell us anything about his role, and why were they created? What is their function? In answering this kind of questions, the concept of Anchoring Innovation can help. Images are an important aspect of the process of anchoring Christianity: they make Christianity materially present in the world of antiquity. Their innovative character is expressed by the fact that most of the images are created ex novo, without re-using pagan prototypes.
Byzantinische Zeitschrift, Jan 25, 2005
P. von Zabern eBooks, 1998
SBL Press eBooks, Nov 5, 2021
De Gruyter eBooks, Dec 31, 2020
Routledge eBooks, May 20, 2018
Antiquité tardive, 2008
Page 1. An Tard, 15, 2007, p. 285 à 302 VORSTELLUNGEN VON TOD UND JENSEITS IN DEN FRüHCHRISTLICHE... more Page 1. An Tard, 15, 2007, p. 285 à 302 VORSTELLUNGEN VON TOD UND JENSEITS IN DEN FRüHCHRISTLICHEN GRABINSCHRIFTEN DER OIKUMENE JUTTA DRESKEN-WEILAND Representations of death and afterlife ...
BRILL eBooks, Oct 2, 2020
Deuterocanonical and cognate literature, Dec 15, 2009
Obwohl in Rom christliche Grabinschriften zunächst in bewusster Abkehr von heidnischen Inschrifte... more Obwohl in Rom christliche Grabinschriften zunächst in bewusster Abkehr von heidnischen Inschriften und ihrer Sprache bereits zu Beginn des 3. Jahrhunderts einsetzen, stammt die älteste Inschrift, die die Auferweckung der Toten erwähnt, erst aus dem frühen 4. Jahrhundert. Diese Inschrift2, die durch die Erwähnung des Pontifikats des Papstes Marcellinus (296-304) datiert ist, gilt der neunjährigen Severa, der Tochter des Diakons Severus, der vom Papst die Erlaubnis erhalten hatte, in der Calixtus-Katakombe ein Doppel-Cubiculum mit Arkosolien und Lichtschaft errichten zu lassen. Die entsprechende Passage lautet:
Deuterocanonical and cognate literature, Dec 17, 2007
Angels are only rarely mentioned in early Christian grave inscriptions. When these express ideas ... more Angels are only rarely mentioned in early Christian grave inscriptions. When these express ideas on death and beyond they prefer across the board expressions referring to the community with God or Christ and to eternal life. In the East of the Roman Empire invocations to God enjoy great popularity. A theme to be found regularly both in the East and West is the community of the saints, although martyrs and specific saints are seldom asked for help and intercession.1 Considered from this point of view it is not amazing that angels are scarcely found found in grave inscriptions. Inscriptions referring to angels may be divided into three groups regarding their contents: angels and death, angels in the afterlife, and angels and Parousia.2 In addition, one grave inscription mentions the dedication of a church to the holy angels.
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Papers by Jutta Dresken-Weiland
A review of the theological texts dealing with Christ's descent into the netherworld shows that this theologumenon must have been well known in the world of the Oikumene. Comparisons for all the elements of the iconography can be found in various representations, albeit mostly later ones. The gemstone fits into a group of closely comparable rock crystal gemstones in form and style. The setting with its suspension has parallels in the 6th century, although an origin in the 7th century cannot be ruled out.
A review of the theological texts dealing with Christ's descent into the netherworld shows that this theologumenon must have been well known in the world of the Oikumene. Comparisons for all the elements of the iconography can be found in various representations, albeit mostly later ones. The gemstone fits into a group of closely comparable rock crystal gemstones in form and style. The setting with its suspension has parallels in the 6th century, although an origin in the 7th century cannot be ruled out.