Among the array of christologies embodied within New Testament literature, the so-called "hymn" of Colossians 1:15-20 offers a unique and invaluable contribution to contemporary theological and inter-religious discourse. This is because it conveys what is arguably the highest christological affirmation within the canon. Pizzuto contends that the hymn is a creative and faith-filled composition by the same deutero-Pauline author of the Colossians epistle itself and demonstrates that there is an inextricable relationship between the chiastic structure of Col 1:15-20 and a proper understanding of its provenance, authorship and theology.Although the hymn echoes theological motifs consistent with Second Temple Judaism and loosely reflects a number of syncretistic influences, it is fundamentally the novelty of the "Christ-event," - the historical impact of Jesus of Nazareth - that has been most influential in determining the christological categories of Col 1:15-20 and its larger epistolary framework. Pizzuto thus defends the overall integrity of the hymn against those who would assert that it reflects a pre-Christian or pre-Colossians origin. He concludes that Col 1:15-20 represents something of a "leap" beyond Pauline christology into a new and unequivocal conviction of the cosmic implications of the Cross.

Among the array of christologies embodied within New Testament literature, the so-called "hymn" of Colossians 1:15-20 offers a unique and invaluable contribution to contemporary theological and inter-religious discourse. This is because it conveys what is arguably the highest christological affirmation within the canon. Pizzuto contends that the hymn is a creative and faith-filled composition by the same deutero-Pauline author of the Colossians epistle itself and demonstrates that there is an inextricable relationship between the chiastic structure of Col 1:15-20 and a proper understanding of its provenance, authorship and theology.Although the hymn echoes theological motifs consistent with Second Temple Judaism and loosely reflects a number of syncretistic influences, it is fundamentally the novelty of the "Christ-event," - the historical impact of Jesus of Nazareth - that has been most influential in determining the christological categories of Col 1:15-20 and its larger epistolary framework. Pizzuto thus defends the overall integrity of the hymn against those who would assert that it reflects a pre-Christian or pre-Colossians origin. He concludes that Col 1:15-20 represents something of a "leap" beyond Pauline christology into a new and unequivocal conviction of the cosmic implications of the Cross.

Among the array of christologies embodied within New Testament literature, the so-called "hymn" of Colossians 1:15-20 offers a unique and invaluable contribution to contemporary theological and inter-religious discourse. This is because it conveys what is arguably the highest christological affirmation within the canon. Pizzuto contends that the hymn is a creative and faith-filled composition by the same deutero-Pauline author of the Colossians epistle itself and demonstrates that there is an inextricable relationship between the chiastic structure of Col 1:15-20 and a proper understanding of its provenance, authorship and theology.Although the hymn echoes theological motifs consistent with Second Temple Judaism and loosely reflects a number of syncretistic influences, it is fundamentally the novelty of the "Christ-event," - the historical impact of Jesus of Nazareth - that has been most influential in determining the christological categories of Col 1:15-20 and its larger epistolary framework. Pizzuto thus defends the overall integrity of the hymn against those who would assert that it reflects a pre-Christian or pre-Colossians origin. He concludes that Col 1:15-20 represents something of a "leap" beyond Pauline christology into a new and unequivocal conviction of the cosmic implications of the Cross.