神之城堡抑或撒旦之座——在统治者的宗教与天启性反向异象之间的帕加玛祭坛神圣者形象  

Citadel of the God(s) or Satan’s Throne: The Image of the Divine at the Great Altar of Pergamon between Ruler Religion and Apocalyptic Counter-Vision

作　　者： 柳博赟[2] Brigitte KAHL;LIU Boyun(New Testament Union Theological Seminary;School of Translation and Interpreting,Beijing Language and Culture University)

机构地区：[1]纽约协和神学院 [2]北京语言大学高级翻译学院

出　　处：《基督教文化学刊》2019年第1期188-218,共31页Journal for the Study of Christian Culture

基　　金：北京语言大学院级科研项目(中央高校基本科研业务专项资金资助),项目编号为19YJ020010~~.

摘　　要：一、视觉挑战当我们看到一个形象时,我们如何知道他/她是不是神?我们需要根据哪些原则,才能将某一位特定的女性形象识别为女神,而另一位只不过是一个女性凡人?那么,究竟是什么样的视觉标志,使我们能够分辨出是雅典娜(Athena)还是奥格(Auge),是半神赫拉克勒斯(Heracles)、是所有神祇的最高父亲宙斯(Zeus),还是邪恶的僭越者波耳费里翁(Porphyrion)?虽然他们被刻画在庄严的白色大理石高浮雕上(当时绘制的时候有鲜明的色彩),他们仍然都具有人的形体。One of the core icons in the Western imagination of the divine was the Great Altar of Pergamon, today the centerpiece of the Pergamon-Museum in Berlin, Germany. What is the visual grammar employed by this spectacular monument as it constructs a normative image of the god(s) and of law, order and civilization? Why could it provide an almost ideal matrix for visualizations of the Roman emperor as god? How were its spatial, ritual, aesthetic, and mythological codes de-coded and re-coded in the transition from Hellenistic ruler cult to Roman imperial religion? In contrast, what happens to this arch-image of Western civilization and political religion as John the Seer irreverently scrutinizes it with the critical eyes of apocalyptic counter-vision?

关 键 词：Great ALTAR at Pergamon Gigantomachy RULER CULT Book of REVELATION Counter-Vision 

分 类 号：B978[哲学宗教—宗教学]