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Neko [114]
2 years ago
13

Write a short letter that explains what the Old Testament tells us about the image of God.

History
1 answer:
Tpy6a [65]2 years ago
3 0

Answer:

The explicit theme of the image of God appears in three texts in the Old Testament: Genesis 1:26–27; 5:1–2; and 9:6. I am excluding from the discussion such important texts as Psalm 17:15 and Ecclesiastes 7:20 because, although these texts bear upon the essence of man as such, they are not part of the Old Testament’s own teaching about the image of God. Given this limitation, intrinsic to the Old Testament itself, we readily see that among the ancient writers there is not a great interest in describing man in terms of the image of God. This cautions us, perhaps, that we should measure our emphasis accordingly.

The first text, Genesis 1:26–27, records the final creative act of the sixth day of creation:

Then God said, “Let us make man in our image, after our likeness. And let them have dominion over the fish of the sea and over the birds of the heavens and over the livestock and over all the earth and over every creeping thing that creeps on the earth.” So God created man in his own image, in the image of God he created him; male and female he created them.1

The fifth chapter of Genesis contains the genealogy from Adam to Noah. It begins:

This is the book of the generations of Adam. When God created man, he made him in the likeness of God. Male and female he created them, and he blessed them and named them Man when they were created. (Genesis 5:1–2)

Our third text falls within the context of God’s blessing upon Noah immediately after the flood. God says to Noah, “Whoever sheds the blood of man, by man shall his blood be shed, for God made man in his own image.”

In these texts, the English word image translates the Hebrew word tselem; and the English likeness translates the Hebrew demuth (except in Genesis 5:1, where likeness translates tselem). Our first task, then, is to find out the meanings of these words from their usage in the whole Old Testament.

In the remainder of the Old Testament, tselem is used, but for the two exceptions, to refer to the physical likeness of a person or thing, and almost uniformly these images are abominable.2 The two exceptions of this usage, however, broaden the possibilities of the meaning of this important word. We should, therefore, consider these texts more closely. In Psalm 39:5–6 we read:

Behold, you have made my days a few handbreadths,

    and my lifetime is as nothing before you.

Surely all mankind stands as a mere breath!

    Surely a man goes about as a tselem!

The ESV renders tselem shadow, which points to its meaning as a resemblance or reflection of something greater. It certainly is not a material idol or the like. Thus we have some evidence that tselem is not bound to denote a physical image. Similarly, in Psalm 73:20 Asaph, speaking of the rich heathen, says,

Like a dream when one awakes,

    O Lord, when you rouse yourself, you despise them as tsalmam.

Here the ESV renders tsalmam phantoms. Thus we are not dealing with a concrete, tangible image, but again, a more abstract likeness. With von Rad, I conclude from the above evidence that tselem “means predominantly an actual plastic work, a duplicate, sometimes an idol . . . only on occasion does it mean a duplicate in the diminished sense of a semblance when compared with the original.”3

The second important word, demuth, apart from the Genesis texts, has a greater flexibility than tselem. It is used in a concrete sense almost synonymously with tselem,4 and in the abstract sense of resemblance.5 Although the abstract quality is there, demuth is used uniformly in connection with a tangible or visual reproduction of something else. So again, as with tselem, the usage of demuth urges us very strongly in the direction of a physical likeness.

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Here is some information about that!

Explanation:

The prototype of gagaku was introduced into Japan with Buddhism from China. In 589, Japanese official diplomatic delegations were sent to China (during the Sui dynasty) to learn Chinese culture, including Chinese court music. By the 7th century, the koto (a zither) and the biwa (a short-necked lute) had been introduced into Japan from China. Various instruments, including these two, were the earliest used to play gagaku.

Even though the Japanese use the same term 雅楽 (yǎyuè in Mandarin Chinese, ngahngohk in Cantonese), the form of music imported from China was primarily banquet music engaku rather than the ceremonial music of the Chinese yǎyuè. The importation of music peaked during the Tang Dynasty, and these pieces are called Tōgaku (Tang music). Gagaku pieces earlier than Tang Dynasty are called kogaku (ancient music), while those from after the Tang Dynasty are called shingaku (new music). The term gagaku itself was first recorded in 701, when the first imperial academy of music Gagakuryō was established.[5]

Music from the Korean kingdom of Goguryeo, which is pronounced Koma in Japanese, had been recorded as early as 453 AD, and komagaku was eventually used as a term that covered all Korean pieces. Komagaku and Tōgaku became established in southern Japan during the Nara period (710–794). In 736, music from India and Vietnam were also introduced and these are called Tenjikugaku (天竺楽) and Rinyūgaku (林邑楽) respectively.

In the 8th century, during the Nara period, gagaku was performed at national events, such as the erection of the Great Buddha of Todai-ji Temple, by organizing gagaku performance groups at large temples.

From the 9th century to the 10th century, during the Heian period, traditional gagaku was developed and indigenous to Japan through fusion with music unique to Japan, and it changed greatly. Gagaku was almost completed by the fusion of Tōgaku, Komagaku, Tenjikugaku and Rinyūgaku which were introduced from Asian countries, with Kuniburi no utamai, traditional Japanese music, and Utaimono, songs born in the Heian period.[2][3] During this period, Many pieces of gagaku music were created and foreign-style gagaku music were arranged and renewed. gagaku was also reorganized, and foreign-style gagaku music was classified into categories called Sahō (左方, left side) and Uhō (右方, right side). Chinese, Vietnamese and Indian style was classified on the Sahō, and Korean and Manchurian style was classified on the Uhō. And Tenjikugaku and Rinyūgaku were also included in the category of Tōgaku.[2][3][6]

The popularity of gagaku reached its peak in the 9th century to the 10th century when court aristocracy began to hold private concerts, but declined in the Kamakura period (1185-1333) when the power of the court aristocracy became diminished while that of the samurai rose.[6] Gagaku was played by musicians who belonged to hereditary guilds. During the Kamakura period, military rule was imposed and gagaku was performed rarely at court. At this time, there were three guilds, based in Osaka, Nara and Kyoto.

Because of the Ōnin War, a civil war from 1467 to 1477 during the Muromachi period, gagaku ensembles ceased to perform in Kyoto for about 100 years. In the Edo period, the Tokugawa Shogunate revived and reorganized the court-style ensembles, the direct ancestors of the present gagaku ensembles.

After the Meiji Restoration of 1868, musicians from all three guilds came to the capital and their descendants make up most of the current Tokyo Imperial Palace Music Department. By that time, the present ensemble composition had been established, consisting of three wind instruments – hichiriki, ryūteki, and shō (bamboo mouth organ used to provide harmony) – and three percussion instruments – kakko (small drum), shōko (metal percussion), and taiko (drum) or dadaiko (large drum), supplemented by gakubiwa.

Gagaku also accompanies classical dance performances called bugaku (舞楽). It may be used in religious ceremonies in some Buddhist temples.[7]

In 1955, the Japanese government recognized gagaku and bugaku as important National Treasures.

Today, gagaku is performed in three ways:[8]

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