Abstract

This article focuses on pectoral crosses, which functioned as relic containers and amulets and were characterized by a blend of figural imagery and inscriptions. Arguably produced between the late eighth and the early ninth centuries, the geographical origins of the crosses are still contested between Byzantium and Rome, while other alternatives have yet to be fully considered. Some of these pectoral crosses bear inscriptions in Greek which have been interpreted as ‘incorrect’, but may reflect the conventions of spoken language in an evolving hellenophone Mediterranean. It is possible that their owners read the text during private prayer and meditation while holding the pendant. In particular, this paper considers a now lost enkolpion, the inscriptions of which, in Latin and Greek, reveal that it was intended for an audience familiar with both languages, at least in religious practices. One of its inscriptions quotes a well-known liturgical hymn sung at Mass before the celebration of the Eucharist. Thus, there is scope for a wider investigation into the function as well as cultural origins of pectoral crosses. The combination of figural illustrations and inscriptions and the variety of precious materials and relics on such pectoral crosses may have been intended to elicit a sort of ‘tactile prayer’, suggesting the use of synesthetic ways to apprehend the Incarnate Logos.

摘要

本文重点介绍胸十字架，它用作圣物容器和护身符，其特点是混合了人物形象和铭文。可以说是在 8 世纪末和 9 世纪初之间制作的，十字架的地理起源在拜占庭和罗马之间仍然存在争议，而其他替代方案尚未得到充分考虑。这些胸十字架中的一些带有希腊语铭文，这些铭文被解释为“不正确”，但可能反映了不断发展的希腊语地中海地区的口头语言惯例。可能是它们的主人拿着吊坠在私人祈祷和冥想期间阅读了文字。特别是，本文考虑了一个现已丢失的enkolpion，其中的拉丁文和希腊文铭文表明，它是为熟悉这两种语言的观众准备的，至少在宗教活动中是这样。它的一个铭文引用了在庆祝圣体圣事之前在弥撒中唱的一首著名的礼拜赞美诗。因此，有可能对胸十字的功能和文化起源进行更广泛的调查。人物插图和铭文的组合以及这种胸十字架上的各种珍贵材料和遗物可能旨在引发一种“触觉祈祷”，暗示使用联觉方式来理解化身标志。