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Mithraism

Mithraism, also known as the Mithraic mysteries or the Cult of Mithras, was a Roman mystery religion focused on the god Mithras. Although inspired by Iranian worship of the Zoroastrian divinity (yazata) Mithra, the Roman Mithras was linked to a new and distinctive imagery, and the degree of continuity between Persian and Greco-Roman practice remains debatable. The mysteries were popular among the Imperial Roman army from the 1st to the 4th century AD.

Name
The term "Mithraism" is a modern convention. Writers of the Roman era referred to it by phrases such as "Mithraic mysteries", "mysteries of Mithras" or "mysteries of the Persians". Modern sources sometimes refer to the Roman religion as Roman Mithraism or Western Mithraism to distinguish it from Persian worship of Mithra. == Etymology ==
Etymology
The name Mithras (Latin, equivalent to Greek Μίθρας) is a form of Mithra, the name of an old, pre-Zoroastrian, and, later on, Zoroastrian, god – a relationship understood by Mithraic scholars since the days of Franz Cumont. An early example of the Greek form of the name is in a 4th century BCE work by Xenophon, the Cyropaedia, which is a biography of the Persian king Cyrus the Great. The exact form of a Latin or classical Greek word varies due to the grammatical process of inflection. There is archaeological evidence that in Latin worshippers wrote the nominative form of the god's name as "Mithras". Porphyry's Greek text De Abstinentia (), has a reference to the now-lost histories of the Mithraic mysteries by Euboulus and Pallas, the wording of which suggests that these authors treated the name "Mithra" as an indeclinable foreign word. Related deity-names in other languages include: • Vedic Sanskrit Mitra, "friend, friendship", as the name of a god praised in the Rigveda. In Sanskrit, mitra is an unusual name of the sun god, mostly known as "Surya" or "Aditya", however. Iranian Mithra and Sanskrit Mitra are believed to come from the Indo-Iranian word mitrás, meaning "contract, agreement, covenant". of the tauroctony of the mysteries, Metz, FranceModern historians have different conceptions about whether these names refer to the same god or not. John R. Hinnells has written of Mitra / Mithra / Mithras as a single deity, worshipped in several different religions. On the other hand, David Ulansey considers the bull-slaying Mithras to be a new god who began to be worshipped in the 1st century BCE, and to whom an old name was applied. Mary Boyce, an academic researcher on ancient Iranian religions, writes that even though Roman Mithraism seems to have had less Iranian content than ancient Romans or modern historians used to think, nonetheless "as the name Mithras alone shows, this content was of some importance". ==Iconography==
Iconography
, framed by scenes from Mithras' life Much about the cult of Mithras is only known from reliefs and sculptures. There have been many attempts to interpret this material. Mithras-worship in the Roman Empire was characterized by images of the god slaughtering a bull. Other images of Mithras are found in the Roman temples, for instance Mithras banqueting with Sol, and depictions of the birth of Mithras from a rock. But the image of bull-slaying (tauroctony) is always in the central niche. Textual sources for a reconstruction of the theology behind this iconography are very rare. (See section Interpretations of the bull-slaying scene below.) The practice of depicting the god slaying a bull seems to be specific to Roman Mithraism. According to David Ulansey, this is "perhaps the most important example" of evident difference between Iranian and Roman traditions: "... there is no evidence that the Iranian god Mithra ever had anything to do with killing a bull." Sometimes Cautes and Cautopates carry shepherds' crooks instead of torches. from Aquileia ( CE; Kunsthistorisches Museum, Vienna) The event takes place in a cavern, into which Mithras has carried the bull, after having hunted it, ridden it and overwhelmed its strength. In some depictions, the central tauroctony is framed by a series of subsidiary scenes to the left, top and right, illustrating events in the Mithras narrative; Mithras being born from the rock, the water miracle, the hunting and riding of the bull, meeting Sol who kneels to him, shaking hands with Sol and sharing a meal of bull-parts with him, and ascending to the heavens in a chariot. Besides the main cult icon, a number of mithraea had several secondary tauroctonies, and some small portable versions, probably meant for private devotion, have also been found. Banquet The second most important scene after the tauroctony in Mithraic art is the so-called banquet scene. Birth from a rock Mithras is depicted as being born from a rock. He is often shown as emerging from a rock, already in his youth, with a dagger in one hand and a torch in the other. He is nude, standing with his legs together, and is wearing a Phrygian cap. On some occasions, an amphora is seen, and a few instances show variations like an egg birth or a tree birth. Some interpretations show that the birth of Mithras was celebrated by lighting torches or candles. Lion-headed figure (500 CE; CIMRM Although animal-headed figures are prevalent in contemporary Egyptian and Gnostic mythological representations, no exact parallel to the Mithraic leontocephaline figure has been found. Some scholars identify the lion-man as Aion, or Zurvan, or Cronus, or Chronos, while others assert that it is a version of the Zoroastrian Ahriman or the more benign Vedic Aryaman. Although the exact identity of the lion-headed figure is debated by scholars, it is largely agreed that the god is associated with time and seasonal change. ==Rituals and worship==
Rituals and worship
According to M.J. Vermaseren and C.C. van Essen, the Mithraic New Year and the birthday of Mithras was on 25 December. Beck disagreed strongly. Clauss states: "The Mithraic Mysteries had no public ceremonies of its own. The festival of Natalis Invicti, held on 25 December, was a general festival of the Sun, and by no means specific to the Mysteries of Mithras." Mithraic initiates were required to swear an oath of secrecy and dedication. Mithras was thought to be a "warrior hero" similar to Greek heroes. Mithraic catechism Apparently, some grade rituals involved the recital of a catechism, wherein the initiate was asked a series of questions pertaining to the initiation symbolism and had to reply with specific answers. An example of such a catechism, apparently pertaining to the Leo grade, was discovered in a fragmentary Egyptian papyrus (Papyrus Berolinensis 21196), and reads: : . Strasbourg Archaeological Museum. Almost no Mithraic scripture or first-hand account of its rituals survives; with the exception of the aforementioned oath and catechism, and the document known as the Mithras Liturgy, from 4th century Egypt, whose status as a Mithraist text has been questioned by scholars including Franz Cumont. The walls of mithraea were commonly whitewashed, and where this survives, it tends to carry extensive repositories of graffiti; and these, together with inscriptions on Mithraic monuments, form the main source for Mithraic texts. Feasting The archaeology of numerous mithraea indicates that most rituals were associated with feasting – as eating utensils and food residues are often found. These tend to include both animal bones and also very large quantities of fruit residues. The size of the mithraeum is not necessarily an indication of the size of the congregation. of the civic cult. Prayers were addressed to the Sun three times a day, and Sunday was especially sacred. It is doubtful whether Mithraism had a monolithic and internally consistent doctrine. It may have varied from location to location. but no named Mithraic sages are known, nor does any reference give the title of any Mithraic scripture or teaching. It is known that initiates could transfer with their grades from one Mithraeum to another. Some new finds at Tienen show evidence of large-scale feasting and suggest that the mystery religion may not have been as secretive as was generally believed. For the most part, mithraea tend to be small, externally undistinguished, and cheaply constructed; the cult generally preferring to create a new centre rather than expand an existing one. The mithraeum represented the cave to which Mithras carried and then killed the bull; and where stone vaulting could not be afforded, the effect would be imitated with lath and plaster. They are commonly located close to springs or streams; fresh water appears to have been required for some Mithraic rituals, and a basin is often incorporated into the structure. Manfred Clauss states that the number of grades, seven, must be connected to the planets. A mosaic in the Mithraeum of Felicissimus, Ostia Antica depicts these grades, with symbolic emblems that are connected either to the grades or are symbols of the planets. The grades also have an inscription beside them commending each grade into the protection of the different planetary gods. Clauss argues that the grades represented a distinct class of priests, sacerdotes. Gordon maintains the former theory of Merkelbach and others, especially noting such examples as Dura where all names are associated with a Mithraic grade. Some scholars maintain that practice may have differed over time, or from one Mithraeum to another. The highest grade, pater, is by far the most common one found on dedications and inscriptions – and it would appear not to have been unusual for a mithraeum to have several men with this grade. The form pater patrum (father of fathers) is often found, which appears to indicate the pater with primary status. There are several examples of persons, commonly those of higher social status, joining a mithraeum with the status pater – especially in Rome during the 'pagan revival' of the 4th century. It has been suggested that some mithraea may have awarded honorary pater status to sympathetic dignitaries. The initiate into each grade appears to have been required to undertake a specific ordeal or test, In ancient Iran, taking the right hand was the traditional way of concluding a treaty or signifying some solemn understanding between two parties. Ritual re-enactments Activities of the most prominent deities in Mithraic scenes, Sol and Mithras, were imitated in rituals by the two most senior officers in the cult's hierarchy, the Pater and the Heliodromus. appear to depict a Mithraic initiation. On the cup, the initiate is depicted as being led into a location where a Pater would be seated in the guise of Mithras with a drawn bow. Accompanying the initiate is a mystagogue, who explains the symbolism and theology to the initiate. The Rite is thought to re-enact what has come to be called the 'Water Miracle', in which Mithras fires a bolt into a rock, and from the rock now spouts water. Roger Beck has hypothesized a third processional Mithraic ritual, based on the Mainz cup and Porphyrys. This scene, called 'Procession of the Sun-Runner', shows the Heliodromus escorted by two figures representing Cautes and Cautopates (see below) and preceded by an initiate of the grade Miles leading a ritual enactment of the solar journey around the mithraeum, which was intended to represent the cosmos. Consequently, it has been argued that most Mithraic rituals involved a re-enactment by the initiates of episodes in the Mithras narrative, Soldiers were strongly represented amongst Mithraists, and also merchants, customs officials and minor bureaucrats. Few, if any, initiates came from leading aristocratic or senatorial families until the 'pagan revival' of the mid-4th century; but there were always considerable numbers of freedmen and slaves. ==History and development==
History and development
Mithras before the Roman Mysteries (Mt. Nemrut, 1st century BCE) of Sasanian king Ardashir II. Mithra stands on a lotus flower on the left holding a barsom. (or the similar headdress – a Persian tiara), in Iranian (Parthian) clothing, On the back of the thrones there is an inscription in Greek, which includes the compound name Apollo-Mithras-Helios in the genitive case (Ἀπόλλωνος Μίθρου Ἡλίου). Vermaseren also reports about a Mithras cult in Fayum in the 3rd century BCE. R.D. Barnett has argued that the royal seal of King Saussatar of the Mitanni from depicts a tauroctonous Mithras. Beginnings of Roman Mithraism The origins and spread of the Mysteries have been intensely debated among scholars and there are radically differing views on these issues. According to Clauss, mysteries of Mithras were not practiced until the 1st century CE. Earliest cult locations According to Roger Beck, the attested locations of the Roman cult in the earliest phase () are as follows: The context is a prayer to the god Phoebus. The cave is described as persei, which in this context is usually translated Persian. According to the translator J.H. Mozley it literally means Persean, referring to Perses, the son of Perseus and Andromeda, Plutarch The Greek biographer Plutarch (46–127 CE) says that "secret mysteries ... of Mithras" were practiced by the pirates of Cilicia, the coastal province in the southeast of Anatolia, who were active in the 1st century BCE: "They likewise offered strange sacrifices; those of Olympus I mean; and they celebrated certain secret mysteries, among which those of Mithras continue to this day, being originally instituted by them." He mentions that the pirates were especially active during the Mithridatic wars (between the Roman Republic and King Mithridates VI of Pontus) in which they supported the king. Dio Cassius The historian Dio Cassius (2nd to 3rd century CE) tells how the name of Mithras was spoken during the state visit to Rome of Tiridates I of Armenia, during the reign of Nero. (Tiridates was the son of Vonones II of Parthia, and his coronation by Nero in 66 CE confirmed the end of a war between Parthia and Rome.) Dio Cassius writes that Tiridates, as he was about to receive his crown, told the Roman emperor that he revered him "as Mithras". Roger Beck thinks it possible that this episode contributed to the emergence of Mithraism as a popular religion in Rome. Porphyry ) The philosopher Porphyry (3rd–4th century CE) gives an account of the origins of the Mysteries in his work De antro nympharum (The Cave of the Nymphs). According to Beck, Porphyry's De antro is the only clear text from antiquity which tells us about the intent of the Mithraic mysteries and how that intent was realized. David Ulansey finds it important that Porphyry "confirms ... that astral conceptions played an important role in Mithraism." here Mithras is given the epithet "the great god", and is identified with the sun god Helios. There have been different views among scholars as to whether this text is an expression of Mithraism as such. Franz Cumont argued that it is not; Marvin Meyer thinks it is; while Hans Dieter Betz sees it as a synthesis of Greek, Egyptian, and Mithraic traditions. Modern debate on origin Cumont's hypothesis: from Persian state religion -era intaglio depicting a tauroctony (Walters Art Museum) king Ardashir II. Mithra stands on a lotus flower on the left holding a barsom. Scholarship on Mithras begins with Franz Cumont, who published a two volume collection of source texts and images of monuments in French in 1894–1900, Textes et monuments figurés relatifs aux mystères de Mithra [French: Texts and Illustrated Monuments Relating to the Mysteries of Mithra]. An English translation of part of this work was published in 1903, with the title The Mysteries of Mithra. Cumont's hypothesis, as the author summarizes it in the first 32 pages of his book, was that the Roman religion was "the Roman form of Mazdaism", According to Cumont, the god Mithra came to Rome "accompanied by a large representation of the Mazdean Pantheon." Cumont considers that while the tradition "underwent some modification in the Occident ... the alterations that it suffered were largely superficial." Criticisms and reassessments of Cumont Cumont's theories came in for severe criticism from John R. Hinnells and R.L. Gordon at the First International Congress of Mithraic Studies held in 1971. John Hinnells was unwilling to reject entirely the idea of Iranian origin, but wrote: "we must now conclude that his reconstruction simply will not stand. It receives no support from the Iranian material and is in fact in conflict with the ideas of that tradition as they are represented in the extant texts. Above all, it is a theoretical reconstruction which does not accord with the actual Roman iconography." He discussed Cumont's reconstruction of the bull-slaying scene and stated "that the portrayal of Mithras given by Cumont is not merely unsupported by Iranian texts but is actually in serious conflict with known Iranian theology." Another paper by R.L. Gordon argued that Cumont severely distorted the available evidence by forcing the material to conform to his predetermined model of Zoroastrian origins. Gordon suggested that the theory of Persian origins was completely invalid and that the Mithraic mysteries in the West were an entirely new creation. A similar view has been expressed by Luther H. Martin: "Apart from the name of the god himself, in other words, Mithraism seems to have developed largely in and is, therefore, best understood from the context of Roman culture." According to Hopfe, "All theories of the origin of Mithraism acknowledge a connection, however vague, to the Mithra/Mitra figure of ancient Aryan religion." Boyce wrote, "no satisfactory evidence has yet been adduced to show that, before Zoroaster, the concept of a supreme god existed among the Iranians, or that among them Mithra – or any other divinity – ever enjoyed a separate cult of his or her own outside either their ancient or their Zoroastrian pantheons." She also said that although recent studies have minimized the Iranizing aspects of the self-consciously Persian religion "at least in the form which it attained under the Roman Empire", the name Mithras is enough to show "that this aspect is of some importance." She also says that "the Persian affiliation of the Mysteries is acknowledged in the earliest literary references to them." He also says that "the old Cumontian model of formation in, and diffusion from, Anatolia ... is by no means dead – nor should it be." Modern theories Beck theorizes that the cult was created in Rome, by a single founder who had some knowledge of both Greek and Oriental religion, but suggests that some of the ideas used may have passed through the Hellenistic kingdoms. He observes that "Mithras – moreover, a Mithras who was identified with the Greek Sun god Helios" was among the gods of the syncretic Greco-Armenian-Iranian royal cult at Nemrut, founded by Antiochus I of Commagene in the mid 1st century BCE. While proposing the theory, Beck says that his scenario may be regarded as Cumontian in two ways. Firstly, because it looks again at Anatolia and Anatolians, and more importantly, because it hews back to the methodology first used by Cumont. Merkelbach suggests that its mysteries were essentially created by a particular person or persons and created in a specific place, the city of Rome, by someone from an eastern province or border state who knew the Iranian myths in detail, which he wove into his new grades of initiation; but that he must have been Greek and Greek-speaking because he incorporated elements of Greek Platonism into it. The myths, he suggests, were probably created in the milieu of the imperial bureaucracy, and for its members. Clauss tends to agree. Beck calls this "the most likely scenario" and states "Until now, Mithraism has generally been treated as if it somehow evolved Topsy-like from its Iranian precursor – a most implausible scenario once it is stated explicitly." More recently, Parvaneh Pourshariati has made similar claims. According to Antonia Tripolitis, Roman Mithraism originated in Vedic India and picked up many features of the cultures which it encountered in its westward journey. (Museo archeologico) Later history The first important expansion of the mysteries in the Empire seems to have happened quite quickly, late in the reign of Antoninus Pius (b. 121 CE, d. 161 CE) and under Marcus Aurelius. By this time all the key elements of the mysteries were in place. Mithraism reached the apogee of its popularity during the 2nd and 3rd centuries, spreading at an "astonishing" rate at the same period when the worship of Sol Invictus was incorporated into the state-sponsored cults. but it never became one of the state cults. The historian Jacob Burckhardt writes: Persecution and Christianization The religion and its followers faced persecution in the 4th century from Christianization, and Mithraism came to an end at some point between its last decade and the 5th century. Ulansey states that "Mithraism declined with the rise to power of Christianity, until the beginning of the fifth century, when Christianity became strong enough to exterminate by force rival religions such as Mithraism." According to Speidel, Christians fought fiercely with this feared enemy and suppressed it during the late 4th century. Mithraic sanctuaries were destroyed and religion was no longer a matter of personal choice. According to L.H. Martin, Roman Mithraism came to an end with the anti-pagan decrees of the Christian emperor Theodosius during the last decade of the 4th century. Clauss states that inscriptions show Mithras as one of the cults listed on inscriptions by Roman senators who had not converted to Christianity, as part of the "pagan revival" among the elite in the second half of the 4th century. Beck states that "Quite early in the [fourth] century the religion was as good as dead throughout the empire." According to Mark Humphries, the deliberate concealment of Mithraic cult objects in some areas suggests that precautions were being taken against Christian attacks. In areas like the Rhine frontier, barbarian invasions may have also played a role in the end of Mithraism. The cult disappeared earlier than that of Isis. Isis was still remembered in the Middle Ages as a pagan deity, but Mithras was already forgotten in late antiquity. ==Interpretations of the bull-slaying scene==
Interpretations of the bull-slaying scene
According to Cumont, the imagery of the tauroctony was a Graeco-Roman representation of an event in Zoroastrian cosmogony described in a 9th-century Zoroastrian text, the Bundahishn. In this text the evil spirit Ahriman (not Mithra) slays the primordial creature Gavaevodata, which is represented as a bovine. Cumont held that a version of the myth must have existed in which Mithras, not Ahriman, killed the bovine. But according to Hinnells, no such variant of the myth is known, and that this is merely speculation: "In no known Iranian text [either Zoroastrian or otherwise] does Mithra slay a bull." David Ulansey finds astronomical evidence from the mithraeum itself. He reminds us that the Platonic writer Porphyry wrote in the 3rd century CE that the cave-like temple Mithraea depicted "an image of the world" and that Zoroaster consecrated a cave resembling the world fabricated by Mithras. The ceiling of the Caesarea Maritima Mithraeum retains traces of blue paint, which may mean the ceiling was painted to depict the sky and the stars. Beck has given the following celestial composition of the Tauroctony: : Several celestial identities for the Tauroctonous Mithras (TM) himself have been proposed. Beck summarizes them in the table below. : Ulansey has proposed that Mithras seems to have been derived from the constellation of Perseus, which is positioned just above Taurus in the night sky. He sees iconographic and mythological parallels between the two figures: both are young heroes, carry a dagger, and wear a Phrygian cap. He also mentions the similarity of the image of Perseus killing the Gorgon and the tauroctony, both figures being associated with caverns and both having connections to Persia as further evidence. In opposition to the theories above, which link Mithras to specific constellations, Jelbert suggests that the deity represented the Milky Way. Jelbert argues that within the tauroctony image, Mithras' body is analogous to the path of the Milky Way that bridges Taurus and Scorpius, and that this bifurcated section mirrors the shape, scale and position of the deity relative to the other characters in the scene. The notion of Mithras as the Milky Way would have resonated with his status as god of light and lord of genesis, suggests Jelbert, due to the luminosity of this celestial feature, as well as the location of the traditional soul gates at Taurus-Gemini and Scorpius- Sagittarius, portals once believed to represent the points of entry for the soul at birth and death respectively. Beck has criticized Speidel and Ulansey of adherence to a literal cartographic logic, describing their theories as a "will-o'-the-wisp" that "lured them down a false trail". He argues that a literal reading of the tauroctony as a star chart raises two major problems: it is difficult to find a constellation counterpart for Mithras himself (despite efforts by Speidel and Ulansey) and that, unlike in a star chart, each feature of the tauroctony might have more than a single counterpart. Rather than seeing Mithras as a constellation, Beck argues that Mithras is the prime traveller on the celestial stage (represented by the other symbols of the scene), the Unconquered Sun moving through the constellations. ==Comparable belief systems==
Comparable belief systems
riding a bull (Sibiu/Hermannstadt, Romania) The cult of Mithras was part of the syncretic nature of ancient Roman religion. Almost all Mithraea contain statues dedicated to gods of other cults, and it is common to find inscriptions dedicated to Mithras in other sanctuaries, especially those of Jupiter Dolichenus. Christianity Early Christian apologists noted similarities between Mithraic and Christian rituals, but nonetheless took an extremely negative view of Mithraism: they interpreted Mithraic rituals as evil copies of Christian ones. For instance, Tertullian wrote that as a prelude to the Mithraic initiation ceremony, the initiate was given a ritual bath and at the end of the ceremony, received a mark on the forehead. This mark on the forehead may have likely been the Latin letter, "M", which stood for the name of their messianic god-king Mithras. Tertullian also described these rites as a diabolical counterfeit of the baptism and chrismation of Christians. Justin Martyr contrasted Mithraic initiation communion with the Eucharist: :Wherefore also the evil demons in mimicry have handed down that the same thing should be done in the Mysteries of Mithras. For that bread and a cup of water are in these mysteries set before the initiate with certain speeches you either know or can learn. Ernest Renan suggested in 1882 that, under different circumstances, Mithraism might have risen to the prominence of modern-day Christianity. Renan wrote: "If the growth of Christianity had been arrested by some mortal malady, the world would have been Mithraic". This theory has since been contested. Leonard Boyle wrote in 1987 that "too much ... has been made of the 'threat' of Mithraism to Christianity", pointing out that there are only fifty known mithraea in the entire city of Rome. J.A. Ezquerra holds that since the two religions did not share similar aims, there was never any real threat of Mithraism taking over the Roman world. Mithraism had backing from the Roman aristocracy during a time when their conservative values were seen as under attack during the rising tides of Christianity. According to Mary Boyce, Mithraism was a potent enemy for Christianity in the West, though she is sceptical about its hold in the East. F. Coarelli (1979) has tabulated forty actual or possible Mithraea and estimated that Rome would have had "not less than 680–690" mithraea. L.M. Hopfe states that more than 400 Mithraic sites have been found. These sites are spread all over the Roman empire from places as far as Dura-Europos in the east, and England in the west. He, too, says that Mithraism may have been a rival of Christianity. David Ulansey thinks Renan's statement "somewhat exaggerated", but does consider Mithraism "one of Christianity's major competitors in the Roman Empire". ==See also==
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