Poganski motivi u ranokršćanskoj umjetnosti katakomba

Kršćani, radi manjka svoje ikonografije i straha od progona, u najranijim danima koriste jednostavne simbole i već aktualne onovremene poganske motive u svojoj umjetnosti. Poganski mitološki likovi u kršćanskome kontekstu dobivaju novo značenje. Dobar pastir u stilu Orfeja postaje simbol za Krista, kršćanskog Dobrog pastira. Sol Invictus, odnosno nepobjedivo sunce koje simbolizira boga Helija postaje referenca na Krista, spasitelja svijeta koji je pobijedio smrt. Odisej i njegovo mukotrpno putovanje postaju alegorija za Crkvu i njene burne početke. Motiv orantice, kao stari simbol osobe u molitvi postaje u kršćanskome kontekstu simbol pobožnosti i prikaz duše u raju. Općeniti simboli, poput ribe ili gozbe, koji su česti u rimskome svijetu nalaze paralelu u kršćanskim biblijskim pričama te se prirodno uklapaju u kršćansku simboliku bez potrebe za daljnjim preinakama.Because of a lack of developed iconography and a fear of prosecution, early day Christians use simple symbols and current popular pagan motifs of the time in their funerary art. Pagan mythological characters gain a new and deeper meaning when put into a Christian setting. The image of the Good Shepherd in the style of Orpheus becomes a symbol of Christ, the Christian Good Shepherd. Sol Invictus, the unbeatable sun that symbolizes the god Helium becomes a reference to Christ, the savior of the world who conquered death itself. Odysseus and his long and dangerous journey back home becomes an allegory for the Church and its troublesome beginnings. The orans motif, an ancient symbol of prayer, when put into a Christian setting, becomes a symbol of piety and representation of a soul in Heaven. Widespread symbols in the Roman world, such as the fish or banquet scenes, find parallels in biblical stories and therefore naturally fit into Christian art without a need for change