Antiquitopia

I wanted to continue to think about some of the stranger aspects of ancient Christian Christology, especially as it pertains to the Son's preincarnate existence in Ancient Israel.  The story begins really with Justin Martyr who in his 1st Apology and especially in the Dialogue with Trypho seeks to establish that every time anyone ever claimed to see God in Israel's scriptures, they saw the Son, the Logos.  While on the one hand, this helps to relieve some of the more embarrassing anthropomorphisms of the Bible by attributing them to God's manifest aspect - the Son (the image of the invisible God in Colossians 1) - on the other hand, Justin's blanket identification of the Son with all theophanies has further consequences since not all of the theophanies of the Bible are anthropomorphic.  In his First Apology 62-63, Justin uses Moses as the prototypical prophet, often called the “first prophet” throughout, both chronologically and in importance.   He argues ...

For my current project, which focuses on how early Christians understood Moses' visions, I have been delving much into Second and Third Century Christian sources.  During the past week, I have been playing a lot with Theophilus of Antioch with his treatise/letter/apology to Autolycus.  Theophilus, let's say, has a fairly unique Christology in many ways.  Much of this was explicitly rejected by his rough contemporary Irenaeus and has been discussed at length by modern scholars.  But there is one aspect of his Christology that has been largely ignored and is, well, quirky.   ὁ μὲν θεὸς καὶ πατὴρ τῶν ὅλων ἀχώρητὸς ἐστιν καὶ ἐν τόπῳ οὐχ εὑρίσκεται· οὐ γὰρ ἐστιν τόπος καταπαύσεως αὐτοῦ. ὁ δὲ Λόγος αὐτοῦ, δι᾽οὗ τὰ πάντα πεποίκηκεν, δύναμισ ὤν καὶ σοφία αὐτοῦ, ἀναλαμβάνων τὀ πρόσωπον τοῦ πατρὸς καὶ κυρίου τῶν ὅλων, οὗτος παρεγίνετο εἰς τὸν παράδεισον ἐν προσώπῳ τοῦ θεοῦ καὶ ὁμίλει τῷ Ἀδάμ. Καὶ γὰρ αὐτὴ ἡ θεία γραφὴ διδάσκει ἡμᾶς τὸν Ἀδὰμ λέγοντα τῆς φωνῆς...

So, I am currently working on my Songs of the Sabbath Sacrifice chapter, and anyone who has read the Songs might be struck by how the Songs take aspects of theophanies and descriptions of the temple and the throne/chariot from a wide variety of sources and bring them together. Ezekiel has long been recognized as a formidable influence, but I have been arguing that Exodus 25-30, while often recognized as an influence, is just as formidable if not more so than Ezekiel in terms of imagery, precise language, and partially for the structure of the latter half of the Songs--and even responsible for the idea of seeing the heavenly sanctuary on the Sabbath. Nonetheless, this organization, imagery, and language is enriched from a large variety of sources. The question then becomes: what does this synthesis mean? I came to my own conclusion long ago, but in my current reading I found my sentiments echoed by Philip Alexander: The author(s) of the Sabbath Songs assumed that Moses, Ezekiel, Da...