How does a culture become Christian, especially one that is heir to such ancient traditions and spectacular monuments as Egypt? This book offers a new model for envisioning the process of Christianization by looking at the construction of Christianity in the various social and creative worlds active in Egyptian culture during late antiquity. As David Frankfurter shows, members of these different social and creative worlds came to create different forms of Christianity according to their specific interests, their traditional idioms, and their sense of what the religion could offer. Reintroducing the term “syncretism” for the inevitable and continuous process by which a religion is acculturated, the book addresses the various formations of Egyptian Christianity that developed in the domestic sphere, the worlds of holy men and saints’ shrines, the work of craftsmen and artisans, the culture of monastic scribes, and the reimagination of the landscape itself, through processions, architecture, and the potent remains of the past. Drawing on sermons and magical texts, saints’ lives and figurines, letters and amulets, and comparisons with Christianization elsewhere in the Roman empire and beyond, Christianizing Egypt reconceives religious change—from the “conversion” of hearts and minds to the selective incorporation and application of strategies for protection, authority, and efficacy, and for imagining the environment.

What did it mean for ordinary believers to live a Christian life in late antiquity? In Christians at Home, Blake Leyerle explores this question through the writings, teachings, and reception of John Chrysostom—a priest of Antioch who went on to become the bishop of Constantinople in AD 397. Through elaborate spatial and ritual recommendations, Chrysostom advised listeners to turn their houses into churches. Influenced by New Testament descriptions of the Pauline communities, he preached that prayer and chant, scriptural discussion and hospitality, and even domestic furnishings would have a transformational effect on a home’s inhabitants. But as Leyerle shows, Chrysostom’s lay listeners had different views. They were focused not on personal ethical change or on the afterlife but on the immediate, tangible needs of their households. They were committed to Christianity and defended the legitimacy of their views, even citing precedents from scripture in support of their practices By reading these perspectives on early Christian life through one another, Leyerle clarifies the points of disagreement between Chrysostom and his lay listeners and, at the same time, highlights their shared understanding. For both the preacher and his congregations, the household formed a vital ritual arena, and lived religion was necessarily rooted in practice. Elegantly written and convincingly argued, this study will appeal to scholars of theology, classics, and the history of Christianity in particular.

What can we know about the everyday experiences of Christians during the fourth, fifth, and sixth centuries? How did non-elite men and women, enslaved, freed, and free persons, who did not renounce sex or choose voluntary poverty become Christian? They neither led a religious community nor did they live in entirely Christian settings. In this period, an age marked by "extraordinary" Christians--wonderworking saints, household ascetics, hermits, monks, nuns, pious aristocrats, pilgrims, and bishops--ordinary Christians went about their daily lives, in various occupations, raising families, sharing households, kitchens, and baths in religiously diverse cities. Occasionally they attended church liturgies, sought out local healers, and visited martyrs' shrines. Barely and rarely mentioned in ancient texts, common Christians remain nameless and undifferentiated. Unfinished Christians explores the sensory and affective dimensions of ordinary Christians who assembled for rituals. With precious few first-person accounts by common Christians, it relies on written sources not typically associated with lived religion: sermons, liturgical instruction books, and festal hymns. All three genres of writing are composed by clergy for use in ritual settings. Yet they may also provide glimpses of everyday Christians' lives and experiences. This book investigates the habits, objects, behaviors, and movements of ordinary Christians by mining festal preaching by John Chrysostom, Cyril of Jerusalem, Gregory of Nyssa, and Romanos the Melodist, among others. It also mines liturgical instructions to explore the psalms and other songs performed on various feast days. "Unfinished," then, connotes the creativity and agency of unremarkable Christians who engaged in making religious experiences: the "Christian-in-progress" who learns to work with material and bring something into being; the artisans who attended sermons; and, more widely, the bearers of embodied knowing.

Utilizing the Nag Hammadi codices and early Christian writings, this book explores the earliest development of Christianity in Alexandria.

Contends that the roots of Christian belief come not from Judaea but from Egypt • Shows that the Romans fabricated their own version of Christianity and burned the Alexandrian library as a way of maintaining political power • Builds on the arguments of the author's previous books The Hebrew Pharaohs of Egypt, Moses and Akhenaten, and Jesus in the House of the Pharaohs In Christianity: An Ancient Egyptian Religion author Ahmed Osman contends that the roots of Christian belief spring not from Judaea but from Egypt. He compares the chronology of the Old Testament and its factual content with ancient Egyptian records to show that the major characters of the Hebrew scriptures--including Solomon, David, Moses, and Joshua--are based on Egyptian historical figures. He further suggests that not only were these personalities and the stories associated with them cultivated on the banks of the Nile, but the major tenets of Christian belief--the One God, the Trinity, the hierarchy of heaven, life after death, and the virgin birth--are all Egyptian in origin. He likewise provides a convincing argument that Jesus himself came out of Egypt. With the help of modern archaeological findings, Osman shows that Christianity survived as an Egyptian mystery cult until the fourth century A.D., when the Romans embarked on a mission of suppression and persecution. In A.D. 391 the Roman-appointed Bishop Theophilus led a mob into the Serapeum quarter of Alexandria and burned the Alexandrian library, destroying all records of the true Egyptian roots of Christianity. The Romans' version of Christianity, manufactured to maintain political power, claimed that Christianity originated in Judaea. In Christianity: An Ancient Egyptian Religion Osman restores Egypt to its rightful place in the history of Christianity.

Throughout the pharaonic period, hieroglyphs served both practical and aesthetic purposes. Carved on stelae, statues, and temple walls, hieroglyphic inscriptions were one of the most prominent and distinctive features of ancient Egyptian visual culture. For both the literate minority of Egyptians and the vast illiterate majority of the population, hieroglyphs possessed a potent symbolic value that went beyond their capacity to render language visible. For nearly three thousand years, the hieroglyphic script remained closely bound to indigenous notions of religious and cultural identity. By the late antique period, literacy in hieroglyphs had been almost entirely lost. However, the monumental temples and tombs that marked the Egyptian landscape, together with the hieroglyphic inscriptions that adorned them, still stood as inescapable reminders that Christianity was a relatively new arrival to the ancient land of the pharaohs. In Egyptian Hieroglyphs in the Late Antique Imagination, Jennifer Westerfeld argues that depictions of hieroglyphic inscriptions in late antique Christian texts reflect the authors' attitudes toward Egypt's pharaonic past. Whether hieroglyphs were condemned as idolatrous images or valued as a source of mystical knowledge, control over the representation and interpretation of hieroglyphic texts constituted an important source of Christian authority. Westerfeld examines the ways in which hieroglyphs are deployed in the works of Eusebius and Augustine, to debate biblical chronology; in Greek, Roman, and patristic sources, to claim that hieroglyphs encoded the mysteries of the Egyptian priesthood; and in a polemical sermon by the fifth-century monastic leader Shenoute of Atripe, to argue that hieroglyphs should be destroyed lest they promote a return to idolatry. She argues that, in the absence of any genuine understanding of hieroglyphic writing, late antique Christian authors were able to take this powerful symbol of Egyptian identity and manipulate it to serve their particular theological and ideological ends.

In Excavations at the Seila Pyramid and Fag el-Gamous Cemetery, the excavation team provides crucial information about the Old Kingdom and Graeco-Roman Egypt. While both periods have been heavily studied, Kerry Muhlestein and his contributors provide new archaeological information that will help shape thinking about these eras. The construction and ritual features of the early Fourth Dynasty Seila Pyramid represents innovations that would influence royal funerary cult for hundreds of years. Similarly, as one of the largest excavated cemeteries of Egypt, Fag el-Gamous helps paint a picture of multi-cultural life in the Fayoum of Egypt during the Ptolemaic and Roman periods. Excavations there provide a statistically impactful understanding of funerary customs under the influence of new cultures and religion.

Focusing on Egypt from the accession of Diocletian in 284 to the middle of the fifth century, this book brings together information pertaining to the society, economy and culture of a province important to understanding the entire eastern part of the later

In The Cross in the Visual Culture of Late Antique Egypt Gillian Spalding-Stracey brings the design of crosses in monastic and ecclesiastical settings to the fore. Visual representations of the Holy Cross are often so ubiquitous in Christian art that they are often overlooked as artistic devices themselves. This volume offers an exploration of the variety of designs and associated imagery by which the Cross was expressed across the Egyptian landscape in late antiquity. A survey of locations and images leads to an analysis of artistic influences, possible symbolism, variance across time and place and the contextual use of the motif. Gillian Spalding-Stracey provides the reader with an art-historical perspective of the socio-cultural situation in Egypt at the time.