Some of the earliest evidence of Christian communities in Jordan is found in spiritually infused artistry dating from the third to the 19th centuries, serving as creative expressions of faith and devotion.
These include exquisite mosaics retrieved from the city of Madaba in central Jordan featuring a rare Aramaic inscription commemorating the blessed deeds of Saint Cyprian and those with Christian iconography such as birds, gazelles and lambs.
Personal and purpose-built objects for daily worship also reflect this heritage, such as a bronze scooper used in worship spaces for transferring incense and ashes, as well as metal censers – vessels used in Christian liturgy to hold the charcoal that burns the incense. The attached chains allow the censer to be swung, enabling the fragrant smoke to disperse through its perforated lid.
Featured as part of the Jordan: Dawn of Christianity exhibition in Rome, these pieces reveal a spiritual legacy that has endured until today. Held within the august halls of Palazzo della Cancelleria and organised by the Jordanian Ministry of Tourism and Antiquities, the exhibition features more than 90 artefacts from 34 archaeological sites across Jordan.
With many displayed outside the Hashemite Kingdom for the first time, the exhibition was inaugurated by Queen Rania and commemorates three decades of diplomatic relations between Jordan and the Holy See. Running until February 28, the exhibition also marks the 60th anniversary of Pope Paul VI’s historic visit to Jordan in 1964.
“Throughout its history, Jordan has served as a sanctuary for the faithful and a crossroads of cultures and civilisations,” adds Lina Annab, Jordan’s Minister of Tourism and Antiquities, in the programme notes. “Jordan is also home to a remarkable array of early Christian holy sites, many of which are mentioned in the Bible.”
The devout and curious come face to face with parts of that history as the exhibition showcases works found across five Christian pilgrimage sites recognised by the Vatican. These include Mount Nebo, where the Prophet Moses is said to have spent his final days; Tel Mar Elias, a worship site dedicated to the Prophet Elijah; and the fortress Machaerus where, according to the New Testament, the preacher John the Baptist was executed on the orders of King Herod around 30 AD.
A remarkable aspect of the exhibition is how its vast and rich history is often crystallised in the smaller artefacts, offering a keen insight into the daily life of Jordan’s Christian community. These include intricately carved clay pottery lamps from Petra, once used to light religious ceremonies. Metal and bronze pendant crosses from Umm Qais and Tel Mar Elias are also on show, once worn as necklaces and serving as markers of religious and tribal identity.
Nearby is a turquoise-coloured glass vessel resembling a fish, dating to the 6th century. Discovered in Khirbet Yajuz, an archaeological site north-east of Amman, it highlights how the fish was used an early Christian symbol to identify the faith during times of persecution.
Another visually arresting piece is a sandstone relief of a lamb encircled by scrolls of acanthus – a common plant whose foliage was often used as architectural decoration in ancient Greece and Rome. Dating to the third or fourth century and discovered in the St Stephen’s Complex in the Unesco World Heritage site Umm Al-Rassas, it is regarded as an evocative example of biblical allegory fused with Byzantine artistic traditions.
A deeper understanding of the social currents in historical Jordan emerges through the coin collection on display. The sixth-century gold dinars, etched with images of revered saints and holy figures holding a rod crowned with a cross, highlight the Byzantine Empire’s extensive influence on the economic and cultural life across its Mediterranean territories. With the arrival of successive Islamic caliphates from 636 AD, the spiritual symbolism of the coins evolved. A notable example is an eighth-century bronze coin, inscribed with the Islamic declaration of faith: La ilaha illa Allah (there is no God but Allah), reflecting the shift in religious and political identity.
These items, rich in history and meaning, are presented in an accessible and engaging way. Designed as a self-guided tour, the historical and geographical significance of each work can be accessed via QR codes with explanations in Italian and English. The curated lighting – some pieces intentionally dimmed, others softly illuminated – along with an atmospheric soundtrack of gently hummed Gregorian chants, enhances the exhibition’s ethereal ambience.
A tastefully designed gift shop is located in an atrium just outside the exhibition space, featuring official programme notes, as well as books and photographs highlighting Jordan's pluralistic society.
That is the key takeaway from Jordan: Dawn of Christianity. For a kingdom deservedly beloved by tourists and culture lovers for its rich history of embracing and accommodating the Abrahamic faiths, it is the careful and artful preservation of these social ties that continues to give these works resonance beyond their artistic and historical value. This enduring connection is what makes Jordan’s heritage worth celebrating and learning from today.
Queen Rania, perhaps, sums up this approach best in her remarks at the exhibition’s opening: “Jordan is the land of hospitality – anyone who has visited us will attest to the warmth and graciousness of its people. But Jordan is also steeped in history. Everywhere you turn, there are echoes of the ancient civilisations that once called our land home,” she said. “With such a remarkable blend of cultures and traditions, our country truly has something for everyone.”
Jordan: Dawn of Christianity is running at the Palazzo della Cancelleria in Rome until February 28.
