Blog posts tagged with '#christianity'

Scholars believe that at first Griffins were appeared in Assyrian art or perhaps in some part of Chaldea near Babylon. The lintel of the entrance door to the palace of the Assyrian king  Sennacherib, seven centuries before Christ, was decorated with two Griffins drinking from a vessel placed between them.

Griffin through the history:

In the Ancient age, Greek Ctesias who was the physician to King Artaxerxes of Persia, believed in the existence of Griffins inhabitining some far distant place and he described them as four-legged birds the size of wolves, whose backs were covered with black feathers and their breasts with red ones.

In Greece this kind of hybrid animal goes back at least as far as the 16 century B.C. In Crete, in the palace of King Minos at Knossos on each side of the throne, huge griffins lie in fields of lilies which were the emblematic flower of Cretan Royalty. Also the motif of Griffin was depicted on the coins in Greece. Pliny describes the "Griohis" whith his customary richness of fancy and declares they come from Couuntry of Schythians, that is northen Russia While Aeschylus locates them among the Ethiopians.

Plaque with a Winged Lion-Griffin, Achaemenid, 500–330 BC. Gold, 1/8 × 4 1/8 × 4 1/4 in. The Oriental Institute of the University of Chicago.

The meanings of Griffin symbol:

We don't know all the symbolic meanings of Griffin but it is important to know that in the symbology, one of the fundamental rules is that every symbol has both of demonic and celestical meanings. For instance, the engraved Griffin on a Babylonian cylinder is an evil-doer or the adversary of the Tree of Life. In contrast, among the Greeks, Griffins are the animals of light and it is the reason that sometimes they sit at the feet of statues of Apollo, the god of light and beauty. An old coin from Smyra has on one face the head of Apollo crowned with laurel, and on the reverse side a crouching female Griffin with it's paw on the solar wheel. Also in Ancient Persian and Assyrian art, the Griffin drinks flame from the cup of the fire altar which was connected to the light.

 Notably, in some places the Griffins were engraved near the thrones meaning that they are guarding the thrones. In Hellenic tradition Griffins were the guardians of tombs. Herodotus stated that griffins are the vigilant and invinvible guardian of god's treasures, and on a higher plane, "The guardian of the way of salvation.

Also Griffins like the dragons, were the guardians of one of the most precious colored jewels, the emerald. At the end of the fifteenth century, Joannes de Cuba said that the finest emeraldswere those taken from the nest of griffins who guard them with great cruelty.

Griffin statue, Persepolis

But mainly, Griffins represent the values of both Lion and Eagle, The king of the earth and The King of the sky. The state to which the lion and the eagle, or more generally the gryphon, belong is that of the partial intellect and the universal intellect. Indeed, in all traditions, the heart constitutes the center of every being, human or otherwise, and is related to the "Heart of the World," the "Universal Intellect," or the "Divine Intellect," as well as to the element of "intuition" and the intuitive intelligence. In another state lies the brain, which corresponds to the discursive (or rational) intelligence or the partial intellect. The heart is a sacred symbol and the preserver of cosmic life. 

Persian Griffin(Shirdal) hand-engraved Carnelian necklace in Ildirimjewelry store:

A significant discussion on this matter concerns the nature of the relationship between the universal intellect (the heart) and the discursive (or rational) intelligence (the brain). These two may be regarded as complementary, for both can, in a certain sense, be interpreted as poles. Yet such a view may leave a residue of duality, separation, or even opposition. In traditional cosmology, however, this duality and the existence of two poles is a relative matter, for ultimately, unity pervades all things. Thus, the relationship between the universal intellect and the discursive (or rational) intelligence is, in truth, of another kind, namely, a "relationship of subordination," in which one relies upon the other. Consequently, the discursive (or rational) intelligence (the brain) is in subordination to the universal intellect (the heart). 

To elucidate this, one may refer to the symbol of light. Light is the most common symbol of knowledge. The heart corresponds to the sun, and the brain to the moon. In certain traditions, the sun and the moon represent two principles—active and passive, or masculine and feminine—indicating a complementary relationship. As the Scriptures state: “God made two great lights; the greater light to rule the day, and the lesser light to rule the night” (Genesis 1:16). Yet in their inner essence, in the supra-formal order, the sun is the source of light, whereas the moon merely reflects the sun's radiance. This sun–moon relation applies equally to the heart and brain, or to the universal intellect (or intuitive intelligence) and the discursive (or rational) intelligence (material intellect). Hence, light, as a symbol of knowledge, shines directly from the sun (intuitive intelligence, pure intellect), while the moon’s light represents derivative or reflected knowledge. The heart’s knowledge (the sun) is the direct apprehension of intelligible light; it is not transferable and must be actualized in the knower. 

Understanding this is of great importance, as it pertains closely to symbolism. By grasping the relationship between these two forms of intellect, one can comprehend the meaning of numerous symbols across different traditions throughout history. In the traditional worldview, the principle of correspondence is paramount: correspondence signifies a form of equivalence in another state. As noted, the heart, or universal intellect, corresponds to the sun, and the discursive (or rational) intelligence to the moon—but this is not the entirety of the matter. 

In the domain of metals and alchemy, gold corresponds to the sun and to the universal intellect, whereas silver corresponds to the moon and the discursive (or rational) intelligence. In the realm of animals, the lion and the eagle are solar symbols, while the ox and the rabbit are lunar symbols and relate to the discursive (or rational) intelligence. Thus, the gryphon is a being entirely endowed with solar qualities. 

This understanding may also illuminate why, in Persepolis, the lion is depicted tearing the ox apart.

The Griffin in Ascensions:

The griffin, a mythical creature with the body of a lion and the head and wings of an eagle, has a rich history in stories of ascension or journeys to the heavens. Across various cultures, this creature symbolized power, ambition, and the soaring of the soul.

In Persian legend, the mythical king Kai Kavus attempted to fly to heaven on a throne carried by four hungry eagles, though in some versions, these creatures are griffins. The most famous example, however, comes from the story of Alexander the Great. He is often depicted attempting to ascend to the heavens in a vehicle pulled by griffins. He enticed the creatures to fly upwards by holding spears with meat just out of their reach. This legend highlights the griffin's role as a powerful, sky-bound being capable of lifting a mortal towards the divine realm, even if the attempt was seen as an act of hubris.

Simurgh returning to nest to Zal and its chicks, Shahnameh Tahmasbi

In Persian mystical tradition and literature, the symbol of the griffin gradually found its counterpart in the Simurgh. In Ferdowsi's Shahnameh, the Simurgh is portrayed as a wise creature and guardian of the Tree of Knowledge, assisting heroes and acting as a guide and intermediary between the divine intellect and humanity. This role evolved in mystical works; for instance, in Attar's The Conference of the Birds, the Simurgh becomes a symbol of ultimate truth. In this work, the Simurgh represents a state of perfection that the birds (symbolizing spiritual seekers) journey towards. At the end of their quest, they realize that the truth and divinity they sought lay within themselves. Thus, the Simurgh is not merely a guide but is itself the very mystical truth, attainable through spiritual journey and inner transformation.

The Griffin in Christian tradition:

The hybrid and biformed animals were chosen by Christian symbolists to represent the nature and excellence of Christ and one of these creatures was Griffin. Griffins are not included among the animals pictured in the catacombs and when it appears on some fourth and fifth century Christian lamps, it was known as evil, but in the middle ages, the monks connected Griffin to Jesus ad his saints. Nevertheless also  in the Middle ages, the griffin  with it's rapacious beak and the huge claws of a predator and with a dragon-like rear ending in a reptile's tail often symbolized Satan which is also depicted in Sainte-Chapelle in Paris, actually this demonic meaning appears when this creature is "Griffin-dragon" with reptiles' features but when it is "Griffin-Lion" it is connected to God or Jesus.

As mentioned before, the Griffins are connected the the "Acsension" and "The Carrier of Souls upward" (Which belongs to eagle) and these values of this creature, represented Jesus Christ for Christians. The Griffin is one of the most important symbols of Christ's dual nature and like the other hybrid creatures, the eagle foreparts depict Christ's divinity and the Lion hind quarteres his humanity because of the Griffin's aerial and twrrestrial natures. As Griffin also connected the the wisdom, the highest light of the mind, also represents the Christ and this was the reason that the Griffin appears on the shield carried by Wisdom personified on the north door of the 13 century cathedral of Chartres.

Also Dante versed that:

Blest art thou, Gryphon, that with beak and bite

Thou tearest naught from this sweet-tasting wood

Seeing how ill the belly gripest from it.

As mentioned before, there was a connection between the Griffins and the emeralds, Medieval Christian symbolism adopted the old fable and because the emerald was connected  to reedimimg blood because the the cup in which Jesus blessed the wine at the Last Supper was made of a carved emerald.

Alchemists took Griffin as the symbol of the "Chemical hermaphrodite, sulphur and mercury" and also this hybrid body symbolized the two of four elements, earth and air.

Also because the eagle and lion are strong creatures and nothing can srop the griffin in it's powerful flight or it's irresistible charge, the hermetic symbolists made it represent Christ's power.

By IldirimJewelry

Within Christian heritage, the Jerusalem Cross is a distinguished emblem that reflects Jesus’ deep connection with the Holy Land and the city of Jerusalem. These crosses are treasured as souvenirs and serve as markers for ancient churches and sacred sites throughout Jerusalem. Many people choose to wear the Jerusalem Cross in the form of jewelry—such as necklaces, pendants, rings, earrings, or bracelets—or display it as a wall ornament in their homes. The Jerusalem Cross pendant is often called a “Pilgrim’s Cross,” worn by travelers and visitors from around the world. It has become a cherished symbol for those who have journeyed to Jerusalem and the Holy Land, as well as for anyone wishing to keep the memory and spirit of these sacred places close to their heart.

Jerusalem cross in the history:

Its origin is believed to be rooted in the time of the Crusaders, during the Crusader Kingdom of Jerusalem ruled the holy city, from 1099 to

1187 AD. According to some historical evidence, Godfrey de Bouillon was the first to use the Jerusalem Cross as a distinct symbol. Godfrey of Bouillon (c.1060–1100) was a Frankish noble and a key leader of the First Crusade. After the bloody capture of Jerusalem in July 1099, he refused the title “King,” calling himself instead “Advocate of the Holy Sepulchre,” believing Christ alone was the city’s true king. He led one of the main assaults during the siege of Jerusalem, directing the troops that first broke through the northern walls—an action crucial to the city’s fall. Godfrey died the following year, and his brother Baldwin I became the first official King of Jerusalem.

This cross became the official coat of arms of the newly founded Latin Kingdom of Jerusalem. It symbolized not only Christian devotion but also the idea of spreading the faith “to the four corners of the world.”

Jerusalem cross on King Baldwin's outfit in the "Kingdom of Heaven" movie.

Following the loss of Jerusalem to Muslim forces in 1187, the cross continued as the heraldic symbol of the titular Kingdom of Jerusalem, claimed by various European monarchs even after the territory was gone. It appeared in European coats of arms and church art for centuries.

In the 14th century, the Franciscan Order, appointed by the Pope as guardians of the Holy Land’s Christian sites (the Custodia Terrae Sanctae), adopted the Jerusalem Cross as their emblem. This reinforced its status as a sign of pilgrimage and guardianship of the holy places.

Lapis lazuli Jerusalem cross hand-engraved ring in Ildirimjewelry store:

What is the meaning of Jerusalem cross?

In the previous posts, I described the meaning of five-part symbolic compositions, and the Jerusalem Cross is connected to this type of symbolism. The Jerusalem Cross features a large, perfectly balanced cross ending in “T”-shaped arms, known as Tau Crosses, which symbolize the Old Testament. Surrounding it are four smaller, equal Greek Crosses, representing the New Testament.

This emblem is most closely associated with Jesus Christ and the mission to carry the gospel to all four corners of the earth. Some interpret the four small crosses as symbols of the four Evangelists—Matthew, Mark, Luke, and John. Others see them as a reminder of Christ’s wounds in his hands and feet, while the central large cross signifies the spear wound in his side inflicted by the Roman soldiers.

By Ildirimjewelry

Christograms in Christian tradition are abbreviations that represent Jesus Christ. The use of these abbreviations dates back to early Christianity. Their emergence was heavily influenced by the political atmosphere of the Roman Empire, which was the birthplace and environment in which Christianity emerged and developed. Until the Councils of Milan and Thessalonica in the 4th century AD Christians were frequently subjected to persecution and torture under Roman rule. Due to the constant threat of Roman inquisition, Christians adopted Symbolic ways of referring to the name of Jesus and Christian teachings. Over time, these abbreviations—Christograms—evolved into sacred symbols within Christian tradition.

ICXC:

Beyond the constraints of political necessity, the inherent need of the religion for symbolic and coded language also contributed to the development and spread of these abbreviated symbols.

In the Eastern Church and the context of Eastern Orthodox Christianity, one of the most well-known Christograms is the four-letter abbreviation ICXC. This is a traditional abbreviation of the Greek words for “Jesus Christ,” derived from the first and last letters of ΙΗΣΟΥΣ ΧΡΙΣΤΟΣ, commonly written as ΙΗCΟΥC ΧΡΙCΤΟC.

In religious icons, this Christogram may appear split—“IC” on the left side of the image and “XC” on the right—with a line often drawn above the letters (called a titlos) to indicate the sacredness of the name.

ICXC in Byzantine mosaics of Jesus Christ

Ο ωΝ:

The Greek monogram Ο ωΝ has been highly regarded in the Eastern Church and possesses extensive and profound theological foundations. The phrase Ο ωΝ is directly derived from the Book of Exodus in the Old Testament, where God tells Moses: "I AM WHO I AM."

This monogram is deeply venerated in the Eastern Christian tradition and is widely used in Orthodox iconography, typically inscribed in a triangular form or on three sides of a cross within a halo.

Ο = The Greek definite article ("the")

ωΝ = The present participle form of the verb "to be"

Ο ωΝ literally means: "He Who Is"

Ο ωΝ in Orthodox Iconography

This phrase signifies the oneness of the God of the Old Testament and the God of the New Testament, and the divinity of Jesus Christ.

There is no consensus on the origin of this monogram and where it was first used. Some researchers believe it was first used in the Balkans or Russia (territory of the Eastern Orthodox Church) between the 11th and 13th centuries AD. They suggest it was a response to dualistic, Manichaean, and Gnostic heresies, such as those espoused by the Bogomil sect. Other scholars contend that its widespread use in the halo of Christ in 14th-century Byzantine paintings occurred particularly after the consolidation of Hesychasm (the mysticism of quietude) in the Orthodox Church, and it was used as a symbol of the luminous and mystical theology of this movement.

ICXC and Ο ωΝ Christograms hand-engraved ring in Ildirimjewelry store:

https://www.ildirimjewelry.com/orthodox-cross-ring

By Ildirimjewelry