Reflection of Early Roman Christianity by Getty Villa and its Artefacts

The Getty Villa museum in Malibu is a leader museum in the world reflects the cultures of Greek, Roman and Etruscan artifacts. Some of these artifacts, apart from the villa itself and its design reflect the early Christian context of the cultures represented in the Villa. In particular, there are the artifacts of the Greco-Roman context where early Christianity has roots. In a close examination, the building reveals the sociocultural and religious early practices of the Greeks, Romans and the Etruscan. The Villa itself has been organized thematically so as to portray a systematic display of these cultural contexts. An eye of a visitor into the museum will not fail to capture the artistic representation of the cultures of the peoples of the early Christianity, and, therefore, it is important to give this concept the importance it deserves. This paper seeks to analyze and describe the significance of Getty Villa and its artifacts in relation to the early sociocultural and religious practices the peoples of the Greco-Roman contexts in the days of early Christianity.

The thematic arrangement of the artifacts in the Villa is itself a reflection of the representation of various themes and especially religion by the Villa. Goodale (3) connotes that the non-chronological arrangement in the Villa enables those visiting to see the distinction of cultures as well as appreciate the Gods and goddesses plus the beliefs and values they shared. The acting Curator Karol Wright captures the religious theme as she talks of the beliefs the people shared (Goodale 3). The recent transformation of the Villa portrays it a major cultural institution that is to be coveted.

A close examination of the artifacts reveals the cultural commodities used by the Greeks and the Romans. Greek vases, some of which are amphora show the prizes that were given to the winners of the Olympics. They usually have a picture of the Athena on one side and the sporting event on the other side. Items which are Orpheus related in the Villa bearing the prayer to Orpheus connote the religious attitude of the early peoples in the culture of this context.

The per style image at the vicinity of the Villa showing a replica of that would have been found in the Villa of Pompeii, has raised their hands towards the heavens, convincing the visitors that such peoples wouldn’t be in any other business rather than in prayer. This is in line with the practice of early Christians and also reflects the craftsmanship portrayed in the New Testament Bible (New International Version, Acts 19. 25).

Another Greek vase with a connotation of the early Christianity in the Greco-Roman context is the vase that has Ajax and Achilles playing the game of dice. This portrays the ancient beliefs of the Greeks about superpower existence as in their mythology. This belief reflects on the people who hold a particular religious belief. John (14.14) in the New Testament portrays Jesus as power owner or holder who is capable of doing anything without assistance. This clearly reflects the culture of the Greeks about their hero Ajax whom they believed was second only to Achilles, and that he could do anything without assistance from any of the other gods. The story of Jesus Christ as the son of God in John (3:16) agree to a great extent with this Greek mythology.

From the studies and the beliefs of the Greeks, Ajax and Achilles were very close friends. Close examination of this cultural context reveals that Ajax went to fight for his close acquaintance, Achilles, in arguments involving Agamemnon. In the same way, Jesus (John 3. 17) was sent by God to save His people from suffering that was believed to have been brought about by his enemy the devil.

Greek legends reveal that Ajax killed himself to cover for shame and that he lives in the island of Leuke (Cline 2). This rhymes with the events that unfold in the New Testament during the death of Jesus. In the New Testament, Luke (24. 44) records that Jesus had self-will that His Father’s will, be accomplished. In the same way that Greek mythology brings a belief that Ajax is still alive in the island of Leuke, Christians do hold a belief that Jesus is still alive an lives with God.

The personification of a hero like Achilles or Ajax in a vase that is a helps us to available in the Villa, enables us to appreciate the relationship that early Christians in the context of Greco-Romans had with their gods. The amphora reveals a humanization of legendary figures that were believed to be supernatural beings. This reveals one of the functions of heroes in Greek mythology; to connect with the people. In the same way, Jesus in the New Testament is portrayed as half-man half-God, a being that associated with human beings as if he were one, yet he possessed supernatural powers. In the New Testament, Mathew (26. 37) records that when Jesus was praying in the land of Gethsemane, he became sorrowful and troubled. This shows the human characteristics of Jesus though He was a God.

A statue of Ajax that is erected in the Villa is a reflection can be said to be a religious veneration of Ajax having been turned in to a way of meeting political ends (Cline 2). This portrays the culture of the Greeks in relation to the influence of religion in shaping political direction. In the days of early Christianity, there was tension between the political class and the early Christians. Paul, the missionary in his mission works experienced several political detentions as a result of fear of the unknown experienced by the ruling due the power of the gospel.

A very large mosaic picture that seems to depict a scene from the Mosaic war captures one’s attention in the Villa. It brings out a depiction of Briseis, the prize girl of Achilles being handed over to the Agamemnon who was considered an immediate and important enemy to Achilles. This is very significant with the Christian doctrine where Jesus, the only Son of God, is arrested by the angels of the devil for trial and crucifixion. Mark (14. 46) denotes the seizing and arrest of Jesus for crucifixion. Such myths and beliefs in the early Greek and the Roman Empire show a correlation between this sociocultural set-up and the in this society and the Christian context.

The representation of the Trojan War by the mosaic picture also brings out a correlation of the struggles that the people in these cultures encountered and the contemporary life of a Christian. In the same way, the early Christian of the New Testament is taught to persevere (2 Cor 4. 16; 2Tim 2.11). With such strong correlation between the two cultures, it was a bit easy one would assume, to teach Christianity to these people.

In the villa, we appreciate a Sarcophagus that depicts the life of Achilles. In the ancient Rome, Sarcophagi were the best way to show respect to the deceased. The sarcophagus in the Villa is decorated by four separate episodes. The front shows Achilles himself as he desecrates the corpse of Hector, the fallen Trojan hero. Other scenes show Achilles as he has already slain Hector and in preparation to throw him at the back of the chariot. This picture is significant of the power that the Romans of these days attributed to their hero. Their hero is able to do anything. Early Christians too were introduced to God, all powerful, through His son Jesus. This correlation enables us to appreciate the power encounter that comes from God.

The fragment of Odysseus is another artifact that brings about a correlation of the cultures of the Romans with early Christianity. One end in the Odyssey shows Achilles as he arms for battle. Odysseus who was by then the king of Ithaca is seen searching for the daughter of king Lycomedes. Lycomedes by then ruled Aegean, the island of Scyros. Studies reveal that in the palace if king Lycomedes, Achilles was convinced by Odysseus to agree to die early so as to become immortal (The J. Paul Getty Trust 1). This is very significant of the teachings of early Christianity that Jesus agreed to die for all men so that their sins can be forgiven. The events that unfold in the palace reflect the plan Christian mythology of a meeting in the palace of the heavens where Jesus agreed to die on the cross for the people of God.

The preparation that Achilles had for battle depicts the words of Jesus on Christians to learn to depend on Him any time for victory in battle. On the hand, Christian teachings require that they be prepared any time so as to stand in the way and deal with the tribulations of the enemy. The discussions by the two kings and Achilles may be said to connote a good depiction of the trinity in the early Christian setting.

Some of the vases in the Villa are encrypted with paintings that seem to be from the geometric period of the Aegean war. Some depicting the funerary scene are clearly visible. These are tomb-like monuments that show repositories for the remains of the dead in the ancient Greek society. Some others in the Villa showed communal images with communal memorials to the dead. These depicted the culture of the early Greco-Romans as in their behavior about the dead. The major depiction of this artifact is as an after-life use for a celebration by the dead. This is a clear indicator that the ancient Romans believed in life after death. This well correlates with the teachings of the early Christianity about life after death. It is summarized by the death, and after three days the resurrection of Jesus Christ.

The funerary also apart from depicting the after-life of the dead, may have several other roles: it may be an expression of cultural roles and values, or help in propitiating the spirits of the dead. In the case of the spirits, the artifact denotes that the early Greeks and Romans believed in the existence of the world of the spirits. This is because they at sometimes used the funerary to appease the spirits of the dead.

The statue of a youth portrayed as a lamp bearer of the ancient Romans in the Villa is visible from afar. The statue shows a youth holding an authority symbol. This may be depicting the importance that the ancient Greeks and Romans attached to their youth. In the same way, Paul in the New Testament advises that the youth use their energy to serve God before they divide their commitment in marriage.

The early culture of the Greeks and Romans depicted in a great way the context of early Christianity. This practice can be traced in the context of Christianity in the present day, though at an advanced level. The J.P Getty Villa displays the artifacts that outlay this phenomenon in a thematic arrangement that is to be coveted. By examining the artifacts, one can conclude that early Christianity borrowed from Greco-Roman culture.

Works Cited

Cline, Austin. Ajax (Aias) and Achilles. n.d. Web. 30 Nov. 2013.

Goodale, Gloria. New Getty Museum gives Ancient Artifacts a Fresh Face. Massachusetts: The Christian Science Monitor, 2006. Print.

The J. Paul Getty Trust. Sarcophagus with Scenes from the Life of Achilles. n.d. Web. 30 Nov. 2013

The New International Version Bible. Containing the Old and New Testaments. Biblica. International Bible Society, 1984. Print.

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