Professional Documents
Culture Documents
PDF Politics in China An Introduction Joseph Ebook Full Chapter
PDF Politics in China An Introduction Joseph Ebook Full Chapter
PDF Politics in China An Introduction Joseph Ebook Full Chapter
Joseph
Visit to download the full and correct content document:
https://textbookfull.com/product/politics-in-china-an-introduction-joseph/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
https://textbookfull.com/product/introduction-to-comparative-
politics-political-challenges-and-changing-agendas-8th-edition-
william-a-joseph/
https://textbookfull.com/product/we-the-people-an-introduction-
to-american-politics-benjamin-ginsberg/
https://textbookfull.com/product/an-introduction-to-middle-east-
politics-2nd-edition-benjamin-macqueen/
https://textbookfull.com/product/quantitative-human-physiology-
second-edition-an-introduction-joseph-j-feher-ph-d-cornell-
university/
Technology and World Politics An Introduction 1st
Edition Daniel R. Mccarthy
https://textbookfull.com/product/technology-and-world-politics-
an-introduction-1st-edition-daniel-r-mccarthy/
https://textbookfull.com/product/the-challenge-of-politics-an-
introduction-to-political-science-neal-riemer/
https://textbookfull.com/product/epicurus-an-introduction-to-his-
practical-ethics-and-politics-michael-erler/
https://textbookfull.com/product/we-the-people-an-introduction-
to-american-politics-10th-edition-benjamin-ginsberg/
https://textbookfull.com/product/we-the-people-an-introduction-
to-american-politics-core-edition-benjamin-ginsberg/
Politics in China
Politics in China
An Introduction
THIRD EDITION
1
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.
9 8 7 6 5 4 3 2 1
List of Illustrations ix
Acknowledgments xi
List of Contributors xiii
List of Abbreviations xix
INT R O D U C T IO N
PART I PO L IT ICAL H I S T O RY
PA RT IV P O L I T I CS O N CH I NA’S P E RI P H E RY
16 Tibet 457
(Robert Barnett)
17 Xinjiang 487
(Gardner Bovingdon)
19 Taiwan 538
(Shelley Rigger)
MAPS
In the most immediate sense, this project began when Oxford University Press invited
me to submit a proposal for an introductory textbook on Chinese politics about ten
years ago. But its true origins go back to the summer of 1966, when I took my first col-
lege course on China in summer school at the University of California, Berkeley. My
academic interest in China had been piqued during my freshman year at Cornell by
events unfolding in Beijing (we called it “Peking” then) as the Red Guards—university
students like myself—were challenging professors about their political views and
methods of education during the very early stages of China’s Great Proletarian
Cultural Revolution. It was a tumultuous time on American campuses (Cornell and
Berkeley were epicenters) and also on European college campuses, and the youthful
rebellion against authority in China seemed to many young people to be part of a
global generational movement.
The news from the People’s Republic of China (we called it “Communist China”
or “Red China” then) reaching Western audiences in the mid-1960s was, at best,
piecemeal and sketchy because of Cold War hostilities and the PRC’s self-imposed
isolation from much of the world. It would be quite a few years before the terrible
destructiveness of the Cultural Revolution and the atrocities committed by the Red
Guards would become widely known and well-documented.
By then, I was immersed in Chinese Studies. I had been intellectually captivated
by that summer-school course, taken at Berkeley, with the incomparable Benjamin
I. Schwartz of Harvard. When I returned to Cornell for my sophomore year in the
fall semester of 1966, I took the plunge into learning Chinese. I also began my study
of Chinese politics with Professor John Wilson Lewis. What an extraordinary time
that was to be learning—and teaching—about Chinese politics! I still vividly recall
Professor Lewis’s lecture on why the philosophical debate that had raged a few years
before in China over whether “one divides into two” or “two unites into one” was
crucial to understanding Chairman Mao Zedong’s ideological motives for launching
the Cultural Revolution. John became my undergraduate advisor, and I was very
fortunate to be able to continue my study of Chinese politics with him at Stanford,
where I completed an MA in East Asian Studies and a PhD in political science. I also
xii Ac k n o w l e d g m e n t s
William A. Joseph
Wellesley, MA
May 2019
Contributors
Century (2017), The Internet, Social Media, and a Changing China (2017), and China’s
Challenges: The Road Ahead (2014).
Bruce Gilley is professor of political science in the Mark O. Hatfield School of
Government at Portland State University. His research centers on the comparative
and international politics of China and Asia as well as the comparative politics
of democracy and political legitimacy. He is the author of China’s Democratic
Future (2004) and The Right to Rule: How States Win and Lose Legitimacy (2009).
William Hurst is associate professor of political science at Northwestern
University. He is the author of The Chinese Worker after Socialism (2009) and Ruling
Before the Law: The Politics of Legal Regimes in China and Indonesia (2018), as well
as coeditor of Laid-off Workers in a Workers’ State: Unemployment with Chinese
Characteristics (2009) and Local Governance Innovation in China: Experimentation,
Diffusion, and Defiance (2015). His ongoing research focuses on the political economy
of land and development in Mainland China, Indonesia, Malaysia, and Taiwan.
William A. Joseph is professor of political science at Wellesley College and
an associate in research of the John King Fairbank Center for Chinese Studies at
Harvard University. He is the author of The Critique of Ultra-Leftism in China (1984)
and editor or coeditor of New Perspectives on the Cultural Revolution (1991), China
Briefing (1991, 1992, 1994, 1997), The Oxford Companion to Politics of the World (2nd
ed., 2001), Introduction to Comparative Politics: Political Challenges and Changing
Agendas (8th ed., 2018).
Joan Kaufman is the senior director for academic programs at the Schwarzman
Scholars Program, Lecturer on Global Health and Social Medicine at Harvard Medical
School, and a member of the Council on Foreign Relations. She was previously the
director of Columbia University’s Global Center for East Asia, based in Beijing, and
associate professor at Columbia University’s Mailman School of Public Health,
distinguished scientist at the Heller School for Social Policy and Management, Brandeis
University, founder and director of the AIDS Public Policy Program at Harvard’s
Kennedy School of Government, and China team leader for the International AIDS
Vaccine Initiative. She has lived and worked in China for more than fifteen years
for the Ford Foundation and the UN, was a Radcliffe Fellow at Harvard, and a Soros
Reproductive Health and Rights fellow. Dr. Kaufman teaches, works, and writes on
AIDS, gender, international health, infectious diseases, reproductive health, health
sector reform, and health governance issues with a focus on China
John James Kennedy is professor of political science and director of the Center
for East Asian Studies at the University of Kansas. His research focuses on rural,
social, and political development including village elections, tax reform, family
planning, and rural education. He frequently returns to China to conduct fieldwork
and collaborate with Chinese colleagues in Northwest China. Prof. Kennedy is the
co-author (with Yaojiang Shi) of Lost and Found: the 'Missing Girls" in Rural China
(2019). He has also published a number of book chapters as well as articles in journals
such as Asian Survey, China Quarterly, Journal of Peasant Studies, Journal of Chinese
Contributors xv
Political Science, Journal of Contemporary China, Asian Politics and Policy, and
Political Studies.
Richard Curt Kraus is professor emeritus of political science, University of
Oregon. He is the author of Class Conflict in Chinese Socialism (1981), Pianos and
Politics in China (1989), Brushes with Power: Modern Politics and the Chinese Art of
Calligraphy (1991), The Party and the Arty (2004), The Cultural Revolution: A Very
Short Introduction (2012), and coeditor of Urban Spaces: Autonomy and Community
in Contemporary China (1995).
Cheng Li is director and senior fellow at the Brookings Institution’s John L. Thornton
China Center. Dr. Li is the author/editor of numerous books, including Rediscovering
China: Dynamics and Dilemmas of Reform (1997), China’s Leaders: The New
Generation (2001), Bridging Minds Across the Pacific: The Sino- US Educational
Exchange (2005), China’s Changing Political Landscape: Prospects for Democracy
(2008), China’s Emerging Middle Class: Beyond Economic Transformation (2010),
China’s Political Development: Chinese and American Perspectives (2014), Chinese
Politics in the Xi Jinping Era: Reassessing Collective Leadership (2016), and The Power
of Ideas: The Rising Influence of Thinkers and Think Tanks in China (2017). He is the
principal editor of the Thornton Center Chinese Thinkers Series published by the
Brookings Institution Press.
Sonny Shiu-Hing Lo is professor and deputy director (Arts and Sciences) in the
School of Professional and Continuing Education at the University of Hong Kong.
His new books include China’s New United Front Work in Hong Kong (forthcoming,
with Steven Hung and Jeff Loo), Interest Groups and the New Democracy Movement
in Hong Kong (2018), and The Politics of Controlling Organized Crime in Greater
China (2016).
Katherine Morton is the chair and professor of China’s International Relations
at the University of Sheffield. Her research addresses the domestic and international
motivations behind China’s changing role in the world and the implications for foreign
policy and the study of International Relations. Prior to her appointment at the
University of Sheffield she was the associate dean for research at the College of Asia
and the Pacific, Australian National University, and a Senior Fellow in the Department
of International Relations. She has published widely on the environment and climate
change, global governance, transnational security, food security, maritime security,
and the South China Sea. Her current book project examines the likely impacts of
China’s rising international status upon the evolving system of global governance.
Shelley Rigger is Brown Professor of East Asian Politics at Davidson College.
She has been a visiting researcher at National Chengchi University in Taiwan and a
visiting professor at Fudan University in Shanghai. She is the author of three books
on Taiwan: Politics in Taiwan: Voting for Democracy (1999),From Opposition to
Power: Taiwan’s Democratic Progressive Party (2001); and Why Taiwan Matters: Small
Island, Global Powerhouse (2011) as well as articles on Taiwan’s domestic politics, the
national identity issue in Taiwan-China relations and related topics.
xvi C o n t ri b u to r s
Online (2009). His Dragon-Carving and the Literary Mind (2003) is an annotated
English translation of Wenxin Diaolong, the Chinese classic of rhetoric and literary
theory. He has edited or coedited four books, including China’s Contested Internet
(2015), The Internet, Social Media, and a Changing China (with Jacques deLisle and
Avery Goldstein, 2016), and Re-Envisioning the Chinese Revolution: The Politics and
Poetics of Collective Memories in Reform China (with Ching-Kwan Lee, 2007).
David Zweig is professor emeritus, Division of Social Science, at The Hong
Kong University of Science and Technology HKUST, and director, Transnational
China Consulting Limited (HK). He is vice president of the Center on China and
Globalization (Beijing). He is the author of four books, including Freeing China’s
Farmers (1997), Internationalizing China: Domestic Interests and Global Linkages
(2002), and China’s Brain Drain to the United States (1995), and coeditor of Sino-
China Energy Triangles: Resource Diplomacy under Hegemony (2015). His current
book project focuses on the reverse migration of Chinese talent.
Abbreviations
KAZAKHSTAN
N HEILONGJIANG
M ON G OL I A
JILIN
KYRGYZSTAN
LIAONING
XINJIANG SE A OF
O LIA NORTH JA PA N
TAJIKISTAN INNER MONG KOREA
AFGHANISTAN Beijing
GANSU Tianjin
PAKISTAN HEBEI SOUTH
SHANXI KOREA
Yan’ an
NINGXIA Yan’an SHANDONG Y E L LOW
QINGHAI SE A
e r
Yellow Riv JIANGSU
SHAANXI HENAN
JAPAN
TIBET ANHUI
Shanghai
HUBEI E A ST
SICHUAN ngtze River CHINA
Ya
ZHEJIANG SE A
NEPAL Chongqing
JIANGXI
BHUTAN HUNAN
GUIZHOU FUJIAN
INDIA
BANGLADESH
YUNNAN TAIWAN
GUANGXI GUANGDONG
PAC I F I C
Pea
rl River Shenzhen
OCE AN
BURMA
Hong Kong
VIETNAM Macao
(MYANMAR)
0 300 mi SO U T H
LAOS HAINAN C HIN A
Disputed Border 0 500 km THAILAND SE A
16% $10,000
$9,000
14%
$8,000
12%
$7,000
% Annual GDP Growth
10%
8% $5,000
$4,000
6%
$3,000
4%
$2,000
2%
$1,000
0% $0
1980 1982 1984 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012 2014 2016
the brink of (and in some places actually into) civil war and anarchy, a reign of terror
that tore at the very fabric of Chinese society, and a vicious and destructive assault
against traditional culture, followed by destabilizing power struggles among the top
leadership.
The famine and political chaos occurred during the period when Mao Zedong was
chairman of the Chinese Communist Party (CCP) and the undisputed and largely
indisputable leader of the People’s Republic from its founding in 1949 to his death in
1976. The Maoist era was not without its accomplishments (which are discussed in
this book), but overwhelming scholarly opinion is that it was, as a whole, a disaster
for China, economically, politically, culturally, environmentally, and in other ways.
The emergence of China as a global power that we are witnessing today did not begin
until the early 1980s, with the onset of the post-Mao economic reform era under
the leadership of Deng Xiaoping who, along with Mao Zedong, ranks as the most in-
fluential Chinese political leader of modern times. Deng and the other leaders who
have followed Mao in power have taken the country in a very un-Maoist direction,
with spectacular economic results and many other profound changes. The political
story of China’s incredible journey from Mao to now is one of the central themes of
this book.
But one thing about China has not changed since the founding of the People’s
Republic on October 1,1949: the CCP has never been seriously challenged as China’s
Another random document with
no related content on Scribd:
Or look at the painting of another vault on the opposite page. This is
more stiff than the former, because it was executed nearly a century
later; still, there is nothing to declare its Christian character until the
eye rests on the Good Shepherd, who appears below the principal
part of the decoration.
We are not saying that the artists who executed these paintings
had no Christian meaning in them; on the contrary, we believe that
they had, and that the paintings really suggested that meaning to
those who first saw them. For we know, on the authority of Tertullian,
that “the whole revolving order of the seasons” (which are
represented in the second painting) was considered by Christians to
be “a witness of the resurrection of the dead.” This, therefore, was
probably the reason why they were painted here; and no Christian
needs to be reminded that our Lord spoke of Himself under the
image of a vine, which sufficiently explains the first painting. Still the
fact remains that the representations themselves are such as might
have been used by Christian and by Pagan artists indifferently. If any
of our readers feel disappointed that the first essays of the Christian
painter should not have had a more distinctly Christian character,
they must remember that a new art cannot be created in a moment.
If the Christian religion in its infancy was to make use of art at all, it
had no choice but to appropriate to its own purposes the forms of
ancient art, so far as they were pure and innocent; by degrees it
would proceed to eliminate what was unmeaning, and substitute
something Christian.
Some writers have supposed that Christians used at first Pagan
subjects as well as Pagan forms of ornamentation; and they point to
the figure of Orpheus, which appears in three or four places of the
Catacombs, and to that of Psyche also, which may be seen about as
often. So insignificant a number of exceptions, however, would
scarcely suffice to establish the general proposition, even if they
were in themselves inexplicable. But, in truth, the figure of Orpheus
has no right to be considered an exception at all, for he was taken by
some of the early Fathers as a type of our Lord; and it was even
believed by some of them, that, like the sybil, he had prophesied
about Him. Clement of Alexandria calls our Lord the Divine
enchanter of souls, with evident reference to the tale of Orpheus;
and the same idea will have occurred to every classical scholar, as
often as he has heard those words of the Psalmist which speak of
the wicked as “refusing to hear the voice of the charmer, charm he
never so wisely.” When, then, we find Orpheus and his lyre, and the
beasts enchanted by his song, figured on the walls or roofs of the
Catacombs, we have a right to conclude that the artist intended a
Christian interpretation to be given to his work; and a similar
explanation may be given of any other subjects of heathen
mythology which have gained admittance there.
If we were asked to name the subject which seems to have been
used most frequently in the early decorations of the Catacombs, we
should give the palm to the Good Shepherd; nor is this preference to
be wondered at. Any one who has meditated upon the words in
which our Blessed Lord took this title to Himself, will easily
understand why the first Christians, living in the midst of heathen
persecutors, should have delighted to keep so touching an image
always before them. They scratched it, therefore, roughly on the
tombstone as they laid some dear one in the grave; they carved it on
their cups, especially on the sacred chalice; they engraved it on
signet rings and wore it on their fingers; they placed it in the centre of
the paintings with which they covered the ceiling of their
subterranean chapels, or they gave it the chief place immediately
over the altar. We meet with it everywhere, and everybody can
recognise it.
There are, however, one or two peculiarities in its mode of
treatment which require a word of explanation. The shepherd is
generally represented as a young man lightly clad, with his tunic girt
high about his loins, denoting thereby his unwearied activity; he is
surrounded by sheep, or he carries one on his shoulders, bearing it
home to the fold,—the most tender act of his office. And there is
nothing in this but what we might naturally have expected. But he is
also sometimes represented with a goat instead of a sheep upon his
shoulders; and, in later paintings, he has the pastoral reed or tuneful
pipe either hanging on the tree by his side or he is playing on it. Now
this last particular has no place in the gospel parable, and the former
seems directly opposed to it, since the goat is the accepted symbol
of the wicked, the sheep only of the good. Hence these points have
been taken up by some critics, either as tokens of thoughtless
carelessness on the part of the Christian artists, or as proofs that
their work, whether consciously or unconsciously, was merely copied
from some Pagan original. Neither of these remarks appears to be
just. The images of a shepherd in Pagan art, with scarcely a single
exception, are of a very different kind; and the particular details
objected to are not only capable of receiving a Christian
interpretation, they even express consoling Christian truths. St.
Gregory Nazianzen speaks of the anxious care of the shepherd as
he sits on the hillside, filling the air with the soft notes of his pipe,
calling together his scattered flock; and he observes that in like
manner the spiritual pastor, desirous to recall souls to God, should
follow the example of his Divine Master, and use his pipe more
frequently than his staff. Then, as to the substitution of the goat for
the sheep, it was probably intended as a distinct protest against the
un-Christian severity of those heretics, who in very early times
refused reconciliation to certain classes of penitent sinners.
Not many, however, of the most ancient Christian paintings are of
the same simple and obvious character as the Good Shepherd. The
leading feature which characterises most of them is this, that they
suggest religious ideas or doctrines under the guise of artistic
symbols or historic types. One doctrine specially prominent in them,
and most appropriately taught in cemeteries, is that of the
resurrection and the everlasting life of happiness which awaits the
souls of the just after death. It is in this sense that we must
understand not only the frequent repetitions of the stories of Jonas
and of Lazarus—the type and the example of a resurrection—but
also of Daniel in the lions’ den, and the three children in the fiery
furnace. These last, indeed, very probably had reference also to the
persecution which the Christians were then suffering, and were
intended to inspire courage and a confident expectation that God
would deliver them, even as He had delivered His chosen servants
of old; but, as they are spoken of in very ancient Christian
documents (e.g., in the hymns of St. Ephrem and in the Apostolic
Constitutions) as foreshadowing the future triumph of the body over
death, whence these too had been in a manner delivered, we prefer,
in obedience to these ancient guides, to assign this interpretation to
them; at any rate, it is certain that this interpretation cannot be
excluded. Figures also of the deceased, with arms outstretched in
prayer, sometimes accompanied by their names, or standing in the
midst of a garden, or, again, figures of birds pecking at fruits and
flowers, we understand as images of the soul still living after death,
received into the garden of Paradise, and fed by immortal fruits.
Sometimes there may be a difference of opinion perhaps as to the
correctness of this or that interpretation suggested for any particular
symbolical painting; but the soundness of the principle of
interpretation in itself cannot be called in question, nor will there
often be any serious difficulty in its application, among those who
study the subject with diligence and candour. The language, both of
Holy Scripture and of the earliest Fathers, abounds in symbols, and
it was only natural that the earliest specimens of Christian art should
exhibit the same characteristic. More was meant by them than that
which met at first the outward senses; without this clue to their
meaning, the paintings are scarcely intelligible,—with it, all is plain
and easy.
Tombstone from the very ancient Crypt of St. Lucina, now united with the
Catacomb of St. Callixtus.
Ι ΗϹΟΥϹ = Jesus
Χ ΡΙϹΤΟϹ = Christ
Θ ΕΟΥ = of God
Υ ΙΟϹ = Son
Ϲ ΩΤΗΡ = Saviour
The Greek for fish is here written perpendicularly, one letter above
another, ΙΧΘΥϹ; and it is seen that these five letters are the initial
letters of five words, which, together, contain a tolerably complete
account of what Christ is. He is Jesus Christ, Son of God,
Saviour. Thus, this one word, ιχθυς, or fish, read in this way, tells a
great deal about our Lord’s name and titles; it is almost a miniature
creed, or, as one of the Fathers expresses it, “it contains in one
name a whole multitude of holy names.” It would take us too long to
enquire into the origin of this device for expressing our Lord’s name
and titles in so compendious and secret a form. Clearly, whoever
may have invented it, it was very ingenious, and specially convenient
at those times and places where men dared not speak of Him freely
and openly. We cannot say when it began, but it was in universal use
throughout the Church during the first three hundred years of her life,
and then, when she was in the enjoyment of peace and liberty, it
gradually dropped, first out of sight in Christian monuments, and
then out of mind also in Christian literature. But, during the ages of
persecution, it had sunk deep into the habits of Christian thought and
language; it became, as it were, a part of the very Catechism,—
every baptized Christian seems to have been familiar with it, whether
he lived on the banks of the Tiber or of the Po, of the Loire, of the
Euphrates, or of the Nile. In all these parts of the world, writers in
books, poets in hymns, preachers in sermons, artists in painting, the
very masons themselves on gravestones, made use of it without a
word of explanation, in a way that would utterly mystify any modern
Christian community. Who would now dream of carving or painting a
fish upon a gravestone in a Christian churchyard? yet scores of
graves in the Catacombs were so marked, and some of them with
hardly a word or an emblem upon them besides. Or what meaning
could we attach to the picture of a dove or a lamb standing on a
fish’s back, if we did not understand that the fish represented Christ,
and the dove or the lamb a Christian, so that the whole symbol stood
for a Christian soul supported by Christ through the waves and
storms of life? Or again, only imagine a Christian in these days
having buried with him, or wearing round his neck during life, a little
figure of a fish cut in ivory, or crystal, or mother of pearl, or some still
more costly material? Yet a number of those who were buried in the
Catacombs did this; and some of these fish even bear an inscription,
calling upon the fish to be a Saviour!
It was necessary to give this explanation of certain symbols, and
to justify it by sufficient examples, before we proceed to study any of
the more complex paintings in the Catacombs. But now, with these
thoughts in our minds, let us enter the Cemetery of St. Callixtus, and
look on a figure represented two or three times on a wall of one of its
most ancient chambers: a fish swimming and carrying on its back a
basket of bread, and in the midst of the loaves of bread, a glass
vessel containing a red liquid. What is this but bread and wine, the
elements of the Sacrament of Love, and Jesus Christ Its reality? St.
Jerome, when speaking of a holy bishop of Toulouse who had sold
the gold and silver vessels of his church to relieve the poor, uses
these words, “What can be more rich than a man who carries the
body of Christ in a basket of wicker-work, and the blood of Christ in a
vessel of glass?” Here are undeniably the basket of wicker-work and
the vessel of glass; and who can doubt that we have the other also,
veiled under the figure of the fish?
Consecration of the Holy Eucharist.
Sacrifice of Isaac.
Resurrection of Lazarus.
Such is the full meaning of the scene at the Sea of Tiberias, as
interpreted according to the unanimous consent of the Fathers; and
the adjuncts of this picture show that it was intended to be so
understood here also; for on one side is the figure of the
consecration already described; and on the other, the sacrifice of
Isaac by his father, which was surely a most lively type of the
sacrifice of Christ upon the altar; wherein blood is not really shed,
but the Lamb is only “as it were slain,” just as Isaac was not really
slain, but was received back from the dead, “for a parable.” Lastly, as
has been mentioned before, there follows on the third wall of the
same chamber the natural complement of the rest; the doctrine of
the Resurrection, as contained in the fact of the rising again of
Lazarus. Thus, this whole series of paintings, executed at the end of
the second century, or within the first twenty or thirty years of the
third, and repeated (as has been said) in several successive
chambers, was a continual homily, as it were, set before the eyes of
the faithful, in which they were reminded of the beginning, progress,
and consummation of their new and supernatural life.
We do not say that every modern Christian who looks at these
paintings will thus read their meaning at once; but we believe that all
ancient Christians did so, because it is clear from the writings of the
Apostles themselves and their successors, that nothing was more
familiar to the Christian mind of those days than the symbolical and
prophetical meaning of the facts both of the Old and of the New
Testaments. They believed the facts themselves to have taken place
just as they are recorded, but they believed also that they had a
mysterious signification, whereby the truths of the Christian faith
were insinuated or expressed, and that this was their highest and
truest meaning. “Perhaps there is no one recorded miracle of our
Lord,” says St. Gregory, “which is not therefore selected for
recording because it was the type of something to happen in the
Church;” and precisely the same was felt to be true also of the
histories of the patriarchal and Jewish dispensations. “All these
things had happened to them in figure, and they were written for our
correction, upon whom the ends of the world are come.”
It may not be often possible to trace as clearly as we have just
done in a single instance, the logical order and dependence of the
several subjects that were selected for representation in each
chamber of the Catacombs; they may not always have been so
admirably arranged as to be in fact equivalent, as these were, to a
well-ordered dogmatic discourse. Nevertheless it is only when read
in this way, that the decoration of the Catacombs can be made
thoroughly intelligible; and it is certain that some such meaning must
have been intended from the first. The extremely limited number of
Biblical subjects selected for representation, while such an immense
variety is really contained in the Bible (and so many of those that are
neglected might have seemed equally suitable for the purpose), and
then again, the thoroughly unhistorical way in which these few
subjects are dealt with, shows clearly that the principle of selection
was theological rather than artistic. The artists were not left to
indulge their own unfettered fancy, but worked under ecclesiastical
supervision; and the Bible stories which they depicted were not
represented according to their historical verity, because they were
not intended to be a souvenir of past facts, but to symbolise and
suggest something beyond themselves. In order, therefore, to
understand them, it is necessary to bring them face to face with the
Christian doctrines which they foreshadow.
Noe in the Ark.