The Shroud and the "Historical Jesus"
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Shroud News Issue #54 August 1989
ISSUE No 54 A NEWSLETTER ABOUT THE HOLY SHROUD OF TURIN August 1989 edited by REX MORGAN Author of PERPETUAL MIRACLE and SHROUD GUIDE CRUSADER PERIOD PAINTING OF CHRIST IN THE CHURCH OF THE NATIVITY, BETHLEHEM. ANOTHER COPY FROM THE SHROUD? Pic: Sr Damian of the Cross (Dr Eugenia Nitowski) 2 SHROUD NEWS No 54 (August 1989) EDITORIAL The last issue of Shroud News was well received in the many countries it now reaches. In the past few years the number of regular newsletters and magazines on the subject of the Shroud has increased as more and more people in different parts of the world come to grips with the inescapable fact that Sindonology - the study of the Turin Shroud - is more than a passing fad or an interest for a few scientific specialists or religious fanatics. Indeed most people in most places now know something about the Shroud as a result of its rather sensationalised recent history since 1978 and particularly since the far from satisfactory carbon-dating tests which took place last year. Thus study groups are still springing up and some of them produce regular communications. Amongst those received at the Shroud News office are the new Belgian Soudarion which is a large format, well printed magazine in Flemish. Another new American news-sheet is Friends of the Shroud Newsletter, a quarterly mimeographed series of notes and offprints of press items. Amongst the more prestigious and authoritative journals, Shroud Spectrum International No. 30, March 1989, contains two important papers: one on medical aspects of the arm-position by Dr Gilbert Lavoie and yet another intriguing historical debate by the indefatigable Dorothy Crispino who has also presented on the front cover a rare and beautiful miniature painting of Geoffroy I de Charny. -
HOLY FACE, HOLY SCRIPT, HOLY GATE Revealing the Edessa Paradigm in Christian Imagery
HOLY FACE, HOLY SCRIPT, HOLY GATE Revealing the Edessa paradigm in Christian imagery Alexei Lidov According to a tradition, which was established by the very significant feature which, to the best of my knowl- seventh century, the Holy Mandylion was the only image edge, has been never discussed in the scholarly litera- miraculously created by Christ himself, as a kind of self- ture. It concerns the peculiar iconography of the portrait “not made by human hands”1. The Letter to Mandylion image. Beside the Holy Face there are seven Abgar of Edessa was the only text written by Christ him- roundels painted with a reddish pigment that contrasts self as a kind of a divine autograph2. This unique status with the white background. Combinations of three and determined the outstanding role played by the Holy four roundels separated by vertical strips from Christ’s Face and the Holy Script in the Christian culture. The face are shaped as tablets. The articulation of the sub- stories of these two major relics were closely interwov- ject suggests that it is not just an ornamental motif but en. Both have appeared in the same circumstances and a quite special concept with a particular meaning. The were venerated for centuries in the city of Edessa. Both form of roundels provides an answer. Most probably, were transferred from Edessa to Constantinople and they represented seven seals. Yet why do the seals ap- situated in the Pharos chapel – the imperial church-reli- pear on the Mandylion cloth? The origin of the motif quary of the Great Palace in Constantinople. -
'Blood' Images
The Shroud of Turin’s ‘Blood’ Images: Blood, or Paint? A History of Science Inquiry Author: David Ford <[email protected]>, a graduate of the University of Maryland Baltimore County that majored in history and philosophy. Date: 10 December 2000 Keywords: Shroud of Turin, ‘blood’ images, McCrone, iron oxide and vermilion paint, Heller & Adler, blood tests “It is the essence of scientific investigation to seek to much ‘blood’ and a clear fluid as if from a lance conform thought to the nature of its object, as wound, and seemingly unbroken legs.10 Because of encountered in its interaction with us.” this close similarity, the image is universally believed -- John Polkinghorne1 to depict Jesus,11 yet much controversy remains about whether the Shroud is Jesus’ actual burial shroud or Introduction merely a forgery. A ‘strong-authenticity’ view holds that the body image was produced by supernatural According to the New Testament’s book of means involving Jesus’ body, while a ‘weak- John, Roman soldie rs “flogged” Jesus of Nazareth, authenticity’ view holds that the body image was “twisted together a crown of thorns and put it on his produced by Jesus’ body via unusual natural head,” “struck him in the face,” and, along with two processes. In both the strong- and weak- authenticity others, “crucified him.”2 Because the next day was views, the ‘blood’ images arose via contact of the unsuitable for the display of crucified individuals, a cloth with a bloody Jesus. request that those crucified have their “legs broken” and their “bodies taken down” was made and A point of argument against the Shroud of granted.3 (With their legs broken, victims of Turin being Jesus’ actual burial cloth is that it can be crucifixion could no longer push up their bodies to traced with certainty only from about AD 1355. -
Likkledet I Torino: Hvem Støttet/Støtter C-14-Dateringen
Publisert 04.09.2018 LIKKLEDET I TORINO: HVEM STØTTET/STØTTER C-14-DATERINGEN Listen nedenfor er en liste over bøker, artikler og vitenskapelige artikler om Likkledet i Torino. Den er på ingen måte fullstendig, men er samlet over lang tid. Lista er satt opp for å vise hvor få forfattere om emnet som egentlig støtter riktigheten av C14- prøven fra 1988. Jeg viser til min egen bok om emnet, som kom i september 2018. Tittelen på den er: Likkledet i Torino: C14-dateringen 1988: Hva skjedde? Ikke alle artiklene handler om C14-prøven, selvsagt. En hjelp om dette kan være at tittelen jo avslører emnet, vanligvis. Som regel har bøkene med et kapittel eller to om C14-prøven og så godt som alltid svært negativt. Som du ser, er hvert oppsett forsynt med et nummer. Det er for lettere å kunne henvise til dem i annen sammenheng. De bøkene/forfatterne som støtter C14-prøven, er satt opp med RØDT. Av Jostein Andreassen A1= Adler, Alan D. & Whanger, Alan and Mary: Concerning the Side Strip on the Shroud of Turin (1997). ARTIKKEL. 6 sider. Omtaler C-14-dateringen. https://www.shroud.com/adler2.htm LIKKLEDET I TORINO: HVEM STØTTET/STØTTER C-14-DATERINGEN Side 1 av 1 A2= Adler, Alan D. & Piczek, Dame Isabel (eds.) & Minor, Michael (compiler): The Shroud of Turin. Unravelling the Mystery. In: Proceedings of the 1998 Dallas Symposium (2002). BOK; artikkelsamling av mange forfattere. A3= Ancient Origins (Magasin: nettside; forfatter ikke oppgitt): The Shroud of Turin: Controversial Cloth Defies Explanation as Study Shows it Has DNA From Around the World (2015). -
A Critical Summary of Observations, Data and Hypotheses
TThhee SShhrroouudd ooff TTuurriinn A Critical Summary of Observations, Data and Hypotheses If the truth were a mere mathematical formula, in some sense it would impose itself by its own power. But if Truth is Love, it calls for faith, for the ‘yes’ of our hearts. Pope Benedict XVI Version 4.0 Copyright 2017, Turin Shroud Center of Colorado Preface The purpose of the Critical Summary is to provide a synthesis of the Turin Shroud Center of Colorado (TSC) thinking about the Shroud of Turin and to make that synthesis available to the serious inquirer. Our evaluation of scientific, medical forensic and historical hypotheses presented here is based on TSC’s tens of thousands of hours of internal research, the Shroud of Turin Research Project (STURP) data, and other published research. The Critical Summary synthesis is not itself intended to present new research findings. With the exception of our comments all information presented has been published elsewhere, and we have endeavored to provide references for all included data. We wish to gratefully acknowledge the contributions of several persons and organizations. First, we would like to acknowledge Dan Spicer, PhD in Physics, and Dave Fornof for their contributions in the construction of Version 1.0 of the Critical Summary. We are grateful to Mary Ann Siefker and Mary Snapp for proofreading efforts. The efforts of Shroud historian Jack Markwardt in reviewing and providing valuable comments for the Version 4.0 History Section are deeply appreciated. We also are very grateful to Barrie Schwortz (Shroud.com) and the STERA organization for their permission to include photographs from their database of STURP photographs. -
Constantinople 1 L Shaped H
The Shroud of Turin in Constantinople? Paper I An analysis of the L Shaped markings on the Shroud of Turin and an examination of the Holy Mandylion and Holy Shroud in the Madrid Skylitzes © Pam Moon Introduction This paper begins by looking at the pattern of marks on the Shroud of Turin which look like an L shape. The paper examines [1] the folding patterns, [2] the probable cause of the burn marks, and argues, with Aldo Guerreschi and Michele Salcito that it is accidental damage from incense. [3] It compares the marks with the Hungarian Pray manuscript. [4] In the second part, the paper looks at the historical text The Synopsis of the Histories attributed to Ioannes (John) Skylitzes. The illustrated history is known as the Madrid Skylitzes. It is the only surviving illustrated manuscript for Byzantine history for the ninth, tenth and eleventh centuries. The paper looks at images from the Madrid Skylitzes which relate to the Holy Mandylion, also known as the Image of Edessa. The Mandylion was the most precious artefact in the Byzantine empire and is repeatedly described as an image ‘not-made-by-hands.’ [5] The paper identifies a miniature in the Madrid Skylitzes (fol.26v; see below) which apparently shows the procession of a beheaded emperor Leon V in AD 820 and suggests that there could be a scribal error. The picture seems to show the Varangian Guard who arrived in Constantinople after AD 988, 168 years later. The picture may instead depict the procession of AD 1036, where the Holy Mandylion (and in some translations Holy Shroud) were carried though the streets of Constantinople. -
The History of the Image of Edessa : the Telling of a Story Author(S): AVERIL CAMERON Source: Harvard Ukrainian Studies, Vol
The President and Fellows of Harvard College The History of the Image of Edessa : The Telling of a Story Author(s): AVERIL CAMERON Source: Harvard Ukrainian Studies, Vol. 7, Okeanos: Essays presented to Ihor Ševčenko on his Sixtieth Birthday by his Colleagues and Students (1983), pp. 80-94 Published by: Harvard Ukrainian Research Institute Stable URL: http://www.jstor.org/stable/41036083 Accessed: 23-06-2016 20:51 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/41036083?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The President and Fellows of Harvard College, Harvard Ukrainian Research Institute are collaborating with JSTOR to digitize, preserve and extend access to Harvard Ukrainian Studies This content downloaded from 128.228.173.41 on Thu, 23 Jun 2016 20:51:41 UTC All use subject to http://about.jstor.org/terms The History of the Image of Edessa : The Telling of a Story AVERIL CAMERON There is no doubt that in Byzantine society religion had so far extended its domain that it constituted the single most important set of power relations. -
BSTS Newsletter No. 44
REVIEWS OF NEW BOOKS AND ARTICLES Orazio Petrosillo & Emanuela Marinelli, "The Enigma of the Shroud: A Challenge to Science", trans. from the Italian by Louis J. Scerri, Malta, Publishers Enterprises Group, 1996, 258pp., 16pp colour plates The translation into English of "La Sindone: Una Enigma all Prova della Scienza", as published back in 1990, and presented to Pope John Paul II. The translation, by Louis J.Scerri, has been a long time coming, but it is of excellent quality - partly thanks, it would seem, to the additional editorial involvement of Rex Morgan of Australia's Shroud News - and the book retains its freshness as a searching enquiry into the saga of the Shroud radiocarbon dating. Authors Orazio Petrosillo, a Vaticanologist with the Rome newspaper Il Messagero, and Professoressa Emanuela Marinelli of Rome's Collegamento pro Sindone, make the most thorough investigation into the whole set-up of the Shroud radiocarbon dating. They chronicle how highly respected individuals such as Professor Carlos Chagas of Rome's Pontifical Academy of Sciences were ousted from any involvement, and how the chosen radiocarbon dating scientists then bullied and politicked to make sure that theirs would be the only serious 'test' allowed. This thus gave them the maximum limelight, and had the effect of excluding anything that groups such as America's STURP wanted to do. A point that Petrosillo and Marinelli make particularly well is that because the radiocarbon laboratory scientists wanted to make their testing of the Shroud a showpiece demonstration of their AMS method, any question of the test's possible unreliability or unsuitability for the Shroud became completely downplayed. -
Turin Shroud, Issue #76, December 2012 (
Concerning the question of the identity of the man of the Shroud: Could this man be an anonymous crucified person other than Jesus? An article by Yannick Clément April 28, 2015 In my first article concerning the authenticity of the Shroud of Turin1, I used mainly the facts and observations coming from the blood and serum stains that are present on the cloth in order to show that, beyond any reasonable doubt, this Shroud is not some kind of artistic forgery but, on the contrary, it is a real burial cloth of a man who was severely tortured before his death by crucifixion, in the same manner than what the Gospels told us concerning Jesus of Nazareth, and consequently, that it is an authentic archaeological artefact. Here’s the two important conclusions I reached in my previous article regarding the question of the authenticity of the Shroud of Turin: 1- The Shroud is not an artwork of any kind, simply because the bloodstains clearly indicate that it is a real burial shroud that enveloped for less than 72 hours2, a real man who was tortured, scourged, crowned with thorns and died by crucifixion3. 2- The body image on the Shroud must absolutely have been caused by some form of interraction between the cloth and this tortured and crucified body4. As I said in my first paper about the Shroud’s authenticity referenced above, there is no good reason to seriously doubt these two scientific conclusions that has been confirmed by the STURP team at the end of the direct investigation they did on the Shroud at the end of the 1970s and at the beginning of the 1980s5. -
Fr. Alexey Young. the Shroud of Turin: a Mystery Across the Ages
The Shroud of Turin: A Mystery Across the Ages Православие.Ru, 29 августа 2015 г. Fr. Alexey Young http://www.pravoslavie.ru/english/81330.htm Nun Michaila Mary Mansur On this day, the Church celebrates the icon of the Savior "Made Without Hands"—the prototype of which is believed to be an image of Jesus Christ's holy face, left on a cloth used to cover His face at burial after the crucifixion. An exhaustively researched and highly interesting article by Fr. Alexy Young, Nun Michaila, and Mary Mansur was published a number of years ago in the periodical, "Orthodox America" on the Shroud of Turin and the Holy Napkin. We present it today in the spirit of the present feast. The truth of God has to be comprehended not by the mind alone but with all one's strength; by the mind and the will and the heart; one has to live according to the truth in order to come to know the truth. Blessed Archbishop John (Maximovitch) Science, although not incompatible with faith when properly understood, has more often served to reduce the wonders of nature to molecular conglomerates than to awaken man to the infinite wisdom and power of God as reflected in His creation. Because it acts to unlock the mysteries of nature, science has long been cast in the role of a protagonist by those seeking to destroy the stronghold of faith. Historian Lewis Spitz writes: "The scientific revolution, which made its first giant strides in the 17th century, has won such a total victory through its apparent domination of nature that the Western mind has virtually capitulated to its truth." Now faith is the substance of things hoped for, the evidence of things not seen. -
The Tradition of the Image of Edessa
The Tradition of the Image of Edessa The Tradition of the Image of Edessa By Mark Guscin The Tradition of the Image of Edessa By Mark Guscin This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Mark Guscin All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8581-9 ISBN (13): 978-1-4438-8581-2 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Preface ........................................................................................................ ix Introduction ................................................................................................. 1 Chapter One ................................................................................................. 7 The Image in History I Chapter Two .............................................................................................. 43 The Image in History II Chapter Three ............................................................................................ 79 The Epistula Abgari Chapter Four ........................................................................................... -
SIND Bibliografia STERA 2011, 46 Pp
SIND Bibliografia STERA 2011, 46 pp. File ancora aperto a correzioni. ° segnale di cambiamento corsivo : intervento redazionale GFB Works by Various Authors AA.VV. - La Santa Sindone,° Tipografia Poliglotta Vaticana. NO DATE. AA.VV. - La Sindone certezze scientifiche, Italia, Biblioteca Maria SS. Della Catena° NO DATE AA.VV. - Sermoni sulla Santa Sindone detti alla presenza della reale corte nella chiesa metropolitana di S. Giovanni le quaresime degli anni 1818, 1819 e 1820, e raccolti da Filippo Delpino coi segni steno- grafici,° Stamperia Reale, Torino 1820 AA.VV. - La Santa Sindone di N. S. Gesù Cristo. Berruti° & C. Torino 1930 AA.VV. - L'Ostensione della S.Sindone, Torino 1931,° Bona, Torino 1931 AA.VV. - Quaderno speciale dedicato a La Santa Sindone - La Festa, anno X (nuova serie) n.23, 3 maggio 1931 AA.VV. - Ostensione della SS. Sindone - Torino 1933,° Giachino, Torino 1933 AA.VV. - La Santa Sindone nelle ricerche moderne. Risultati del Convegno Nazionale di Studi sulla Santa Sindone (Torino 1939) - LICE, Torino 1941 (1ª ed.) e 1950 (2ª ed.) AA.VV. - El Santo Sudario de Turin. Revelaciones de algunos documentos fotográficos. Cultores Sanctae Sindonis, Barcelona 1950. (Spanish) AA.VV. - El Santo Sudario en su Realidad, descripción popular, Biblioteca Sindoniana, Italia, 1950 (Spanish) AA.VV. - La Santa Sindone nella ricerche moderne. Primo convengo internazionale di studio Roma-Torino anno santo 1950. R. Berruti & C. Torino L.I.C.E. 1951 AA.VV. - El Santo Sudario en España. Documentos y vestigios. Cultores Sanctae Sindonis, Barcelona 1952 (Spanish) AA.VV. - Sindon: medicina, storia, esegesi°, arte. Vol. 1. Reale Confraternita del SS. Sudario, Torino 1959.