Post by purr on Sept 18, 2023 22:31:48 GMT
Worth watching for those interested and with time on their hands. Here's the gist of it. Dating the Shroud of Turin to the Middle Ages is no slam dunk yet. In depth examination of the cloth as a whole, in context with the so called Sudarium of Oviedo/'handkerchief' (=80 times folded piece of fabric purportedly used to support the head of Jesus while in Joseph of Arimathea's tomb) yielded some intriguing information that may take this controversial artifact back to the 1st century CE after all. Like: the new dating on the shroud proper (instead of a small outer strip of more recent origin) does indicate a several centuries earlier provenance, could be somewhere between 7th and again 1st century. The blood of the person held within the shroud has been typed, it's AB positive with Y chromosome, at least consistent with a male born in Roman Judea. The faint imprint or image visible on the cloth if treated as a photographic negative translates to a surprisingly 'life' like and detailed 3D image of a man with a blooming fruit bearing thorny branch woven and pressed into his scalp, two Tiberias Emperor coins on his closed eyes, a long pony tail, iron nails lodged in his wrists, in his right ankle and left foot (a cruel and ingenious way to prolong excruciating pain by allowing him to support himself just enough to breathe).
His hips and thighs are covered by a Callacon, it's like a tight skirt topped by a snakeskin (African Python) belt with circular buckle, which is correct wear for the first century CE but unknown in the Middle Ages when Christ is usually portrayed with a draped loincloth. The belt is stained by blood from a wound to the man's torso. His forehead and one of his arms furthermore are tightly bound by leather bands that hold two small cubes called Tefilah as is customary for any practicing Jewish male or Rabbi during the 1st century CE in Israel/Judea. Each Tefilah contains 4 scrolls with text from the Torah, as God commanded. This too was no longer associated with the depiction of Christ in the Middle Ages.
Finally, the imaged 'Negative' showing these intriguing details turns out to have the wrong light projection for a photo. Instead it is consistent with 'orthogonal projection', that is light shining on a surface (in this case the Turin Shroud) from infinite distance. To get totally weird here: since the effigy of the dead man was somehow projected on the INSIDE of the shroud, the light source comparable to multiple powerful suns had to radiate from inside this individual's body in all directions to make the image analyzed here.
And then it got even crazier because there is not just one single 3D image, but a number of images (or: moving picture) showing the body apparently changing position from badly dislocated shoulders and ankles from a crucifixion to his shoulders, arms and hands returning to a normal position with a hint of abdominal expansion. The deceased takes his first breath as the infinite light source passed through him in the manner of a strobe.
As it happens, the burial details and suggested sequence of events involved in creating the Shroud of Turin is most consistent with the accounts of the resurrection, or literal raising from the dead of Jesus/Jeshua the Christ/Messiah in the four Gospels of the New Testament. The Shroud of Turin plus 'handkerchief' (named Sudarium of Oviedo) then form historical traces of this extraordinary event.
purr
