Talk:Ethiopian cross

Types of Ethiopian Crosses
Astral symbols of the solar disk and crescent moon were used to mark coins since the first half of the 4th century. It was during the 19th century that Ethiopia incorporated Maria Theresa silver thaler as Ethiopian's national currency. The production process of the silver coin was not as complicated as one may think. Silver sheets were made from molten thalers and cross-cut from the silver sheets. In Ethiopia, crosses had very distinctive symbolic meanings and hence were categorized into three main types. The first type of cross is the ‘processional cross’. Being the most elaborate in design, and the largest of the three types of crosses, the processional cross can be mainly spotted during religious ceremonies, mounted on a long staff, and carried along by priests. An example of the processional cross is the relief curved cross, in the city of Lalibela, in a column of the monolithic church of Bet Maryam. The symbolism of the crosses is a representation of Triumph over the cross. Due to this fact, rich colorful fabrics are often used to ‘primp’ processional crosses while being used in religious ceremonies. Processional crosses also integrate openings carefully organized for procuring these special fabrics as the crosses are carried along their processional routes during festivals. During the ancient times, copper and bronze were the main materials used in the production process of the processional cross that had a unique design that included either round or square shapes with a small cross in the center. In the 15th century, a new type of cross went into production. The main materials used to produce it were brass and silver. The design included shorter arms, and ‘recto’ and ‘verso’ representations on both sides. The 15th-century cross also incorporated devotional individuals who were not in direct relation to the Passion and Crucifixion of Jesus Christ. These devotional subjects included St George slaying the dragon and the Arch Angels Michael and Gabriel. When Gondar was Ethiopia’s capital city during the 17th century, the criteria used to categorize crosses included distinguishing characteristics such as horizontal arms stretching upwards and sometimes folding up to form a circle. The Gordon style of the crosses maintained without relevant variants over time (Abbink, 2015). After Ethiopia became a Christian country, the presence of the cross was thought to be almost universal. The cross became a unifying and distinctive element of the people used in popular devotion and not only as a liturgical instrument used in monasteries and churches. The ornamentation of the cross emerged from religious decorations used in everyday life such as the original Latin cross. During King Ezana’s rule (330 Ad), the golden coins issued had four crosses. The 6th century also had a bronze coin that depicted four processional crosses. The cruciform scepter motif was used on fifth and seventh-century coins on a Negus Amah’s silver coin (Abbink, 2015). It goes without saying that the vivacious, centuries-long traditions of Christianity have led to the development of the pictorial language of Egyptian crosses. The said language has continued to thrive and at the same time evolve as a living organism over the years. This is because of the important role it plays in the lives of its producers and users. Even though the design of the crosses may not be fully perceived by those who produce them as well as those who use them, the potent symbols portray a very influential communicative power and have become repositories of meanings which have accumulated over the centuries. Due to this characteristic, the crosses have influenced the richness found in the pictorial language which can be excited in various ways by its handlers. However, activation of the visual language must adhere to the wide-spread socio-cultural beliefs and concerns of both the majority as well as the minority. The ability to interweave personal and communal values has empowered the Ethiopian crosses making them instruments of protection and sights and also creators of identity between different social actors and different realms of existence by connecting the people with divine spheres. — Preceding unsigned comment added by Mullahnja (talk • contribs) 08:21, 11 December 2019 (UTC)