Abstract Late Antique Christian poets preserved the epithet tonans (thundering), one of the many descriptive terms for Jupiter, and applied it to the Christian god as a means of proclaiming his supremacy. As this poetic tradition continued into the Middle Ages, tonans and its derivatives appeared in new contexts, with the Jovian epithet and other storm-related imagery appearing in ritual environments and on precious objects. Although the classical origins and subversive connotations of the epithet receded from view, its ability to evoke lightning, thunder, and other celestial manifestations meant that it could intensify the multisensory experiences of readers and viewers. This is particularly clear when written references to the Thunderer are paired with other classical allusions, with descriptions of powerful voices and miraculous weather phenomena, or with comparisons of material brilliance and spiritual illumination. Many of these same references were designed to help audiences recall the scriptural accounts of God’s celestial throne or the Ark of the Covenant revealed in Heaven. Creative uses of tempestuous symbolism also allowed artists and authors to emphasize connections among biblical motifs and to imbue text and image with apocalyptic overtones.

中文翻译：

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Dominus Tonans：上古晚期和中世纪基督教的狂暴之神的声音和光芒

摘要已故的古董基督教诗人保留了木星的许多描述性名词之一“锡南”（雷鸣），并将其应用到基督教神中，以此来宣扬他的至高无上的地位。随着这种诗歌传统一直延续到中世纪，托南及其派生词出现在新的语境中，在仪式环境和珍贵物品中出现了朱维安·斯图加特和其他与风暴有关的图像。尽管该词的经典起源和颠覆性含义已从视野中消失，但它唤起闪电，雷声和其他天体表现的能力意味着它可以增强读者和观众的多感官体验。当书面提及雷霆队与其他经典典故搭配使用时，这一点尤其明显，带有强烈的声音和奇妙的天气现象的描述，或者具有物质光彩和精神照明的比较。这些相同的参考文献中有许多旨在帮助听众回想起天堂中揭示的神的天宝座或《约柜》的经文记载。狂暴的象征主义的创造性运用还使艺术家和作者能够强调圣经主题之间的联系，并使文字和图像具有启示性的色彩。