[karim94]

لنرجع الآن إلى ميثراس و الديانة المثراسية التي عرفت أوجها خلال القرن ا لثالث ميلادي, جنبا إلى جنب مع الديانة المسيحية, حيث كانتا تتنافسان فيما بينهما بشدة...إلى أن إندثرت هذه الديانة الوثنية بعد قرار ثيودوسيوس سنة 394 بمنع الطقوس الوثنية....
إليكم مقتطفات من ويكيبيديا عن هذه الديانة:

Mithras

Further information: Mithraism#Mithraism and Christianity
The worship of Mithras was widespread in much of the Roman Empire from the mid-2nd century CE,[6][7] and mainstream historians regard it as possible that many Christian practices derived originally from Mithraism through a process known as christianization, including 25th December being Jesus' birth-date,[8] and Sunday being the dedicated day of worship.[citation needed] Mithras was a solar deity, closely associated with the Roman Sol Invictus later identified with Christ.

Jesus as historical nucleus of Christian myth

Further information: Christian mythology
Regardless of the historicity of Jesus of Nazareth, the titles accorded to him in the New Testament and later literature clearly establish him in the tradition of both Hebrew and Hellenistic mythology, as a semi-divine or deified hero or sacred king (Christ or Messiah), and as a saviour (soter). This circumstance is by no means in contradiction to a historical figure as outlined by the gospel, it is rather the predictable interpretation of a story of a "dead and risen Son of God" by the Hellenistic public of the early centuries AD, and during the Constantinian shift (between the Edict of Milan of 313 and the prohibition of pagan cults by Theodosius I in 391) even a conscious amalgamation of the tenets of the early Church Fathers with established cult practice of Roman imperial cult. The identification of Christ with Sol Invictus and the establishment of the Pontifex Maximus as the "steward of Christ" in the Roman church is a result of this process of amalgamation. Similarly, Christian liturgy and liturgical calendar were modelled after Roman examples, e.g. the adoption of the festival of Sol Invictus to commemorate the Epiphany of Christ.
These aspects were taken up in Germanic Christianity and combined with Germanic myth, giving rise to heroic poetry surrounding Christ and his sacrificial death, such as The Dream of the Rood

Iconographical similarities with Early Christian art

Franz Cumont was the first scholar to suggest that Early Christian art had borrowed iconographic themes from Mithraism, pointing out that Mithraic images of the Heavens, the Earth, the Ocean, the Sun, the Moon, the Planets, signs of the Zodiac, the Winds, the Seasons, and the Elements are found on Christian sarcophagi, mosaics, and miniatures from the third to the fifth centuries. According to Cumont the Church was opposed to the pagan practice of worshipping the cosmic cycle, but these images were nevertheless incorporated into Christian artworks, in which "a few alterations in costume and attitude transformed a pagan scene into a Christian picture".

The Jewish faith provided no precendent of pictorial representation on which the Early Christians could base their imagery. According to Cumont, Early Christian imagery drew upon Mithraic traditions. Depictions of the biblical story of Moses striking Mount Horeb with his staff to release drinking water were, according to Cumont, inspired by Mithraic representation of Mithras shooting arrows at rocks causing fountains to spring up.[22]
M. J. Vermaseren claimed that the scene of Mithras ascending into the heavens was similarly incorporated into Christian art: after Mithras had accomplished a series of miraculous deeds, he ascended into the heavens in a chariot, which in various depictions is drawn by horses being controlled by by Helios-Sol, the pagan sun god. In other depictions a chariot of fire belonging to Helios is led into the water, surrounded by the god Oceanus and sea nymphs. Vermaseren argues that Christian portrayals on sarcophagi of the soul’s ascension into heaven, though ostensibly referencing the biblical scene of Elijah being led into heaven by fiery chariots and horses, were in fact inspired by representations of Mithras' ascent into the heavens in Helios’ chariot. The sun god, Vermaseren claims, provided inspiration for the flames on Elijah’s chariot and the Jordan River is personified by a figure resembling the god Oceanus. [23] Some scholars have also used similar language to describe the circumstances of Mithras' and Jesus' birth: Joseph Campbell described it as a virgin birth,[24] and Martin A. Larson noted that Mithras was said to have been born on December 25th, or winter solstice.[25]
A. Deman suggests that rather than attempting to find individual references from Mithraic art in Christian iconography, as Cumont does with the sun and moon, for instance, it is better to look for larger patterns of comparison: "with this method, pure coincidences can no longer be used and so the recognition of Mithras as the privileged pagan inspirer of medieval Christian iconography is forced upon us." For example Deman compares what he calls the "creative sacrifice" of Mithras with the creative sacrifice of Christ. In representations of both iconographic scenes the vernal sacrifice is central to the image, with sun and the moon symmetrically arranged above. Beneath the sacrifice two other figures are symmetrically arranged. In mithraic scenes these are Cautes and Cautopates, and in the Christian scenes, which date from the 4th century onwards, the figures are typically Mary and John. In other Christian instances however, these two attendants are other figures, and carry a raised and lowered object reminiscent of the raised and lowered torches of Cautes and Cautopates. Such figures may be two Roman soldiers armed with lances, or Longinus holding a spear and Stephaton offering Jesus vinegar from a sponge. In some instances the clothes of these figures resemble those of Cautes and Cautopates in the earlier Mithraic depictions. Derman also compares the twelve apostles shown in Christian crucifixion scenes with the twelve signs of the zodiac common in Mithraic scenes, as well as identifying a cross-legged posture commonly found in figures in both sets of iconography

إذن نرى بوضوح كيف تأثرت الديانة المسيحية بالمثراسية التي كان تتقاسم معها النفوذ خلال القرون الثلاثة الأولى...حتى الصور والأيقونات المسيحية في العهود الأولى ثم أخذها عن هذه الديانة....

وأخيرا وليس آخراً , هذا المقطع الصريح من النسخة الفرنسية لويكيبيديا عن ميثراس

Le mithraïsme était alors une religion concurrente du christianisme. Son culte était surtout très populaire dans les armées, ce qui engagea une rivalité farouche entre les croyants des deux religions, à tel point que l'Église dut faire de nombreuses concessions au culte païen de Mithra (on sait par exemple aujourd'hui que c'est parce que le culte de Mithra se situait aux alentours de l'actuel solstice d'hiver que l'on fête Noël le 25 décembre

(نحن نعرف اليوم , أنه و بسبب أن طقوس ميثرا كانت تقام عند الإنقلاب الشتوي , فإننا نحتفل حاليا بالكريسماس في الخامس و العشرين من ديسمبر )


الروابط

http://en.wikipedia.org/wiki/Krishna

http://en.wikipedia.org/wiki/Avatar_(virtual_reality)

http://en.wikipedia.org/wiki/Krishna

http://en.wikipedia.org/wiki/Demigod

http://fr.wikipedia.org/wiki/Krishna

http://en.wikipedia.org/wiki/User:Jb.../Jesus_as_myth

http://en.wikipedia.org/wiki/Jesus_C...tive_mythology

http://en.wikipedia.org/wiki/Mithras

http://fr.wikipedia.org/wiki/Mithra