© Stephen E. Jones[1]
Index "D"
This is the index page, "D", entry #6, of my "Turin Shroud Encyclopedia." It will be closely followed by "dimensions" (i.e. measurements of the Shroud cloth). See part #1, the Main Index "A-Z" for information about this series.
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[Above: Eleventh century (c. 1080-1100) Christ Pantocrator ("ruler of all") mosaic in the dome of the church of Daphni, Greece. [2]. It has 13 of the 15 Vignon markings[3], which are also found on the Shroud, and it is therefore (together with all the other Byzantine artworks which feature most of these same Vignon markings), proof beyond reasonable doubt that the Shroud existed in the 11th century, and indeed all the way back to at least the 6th century[4]! As previously explained, for each letter of the alphabet sub-index page, I will include a brief note about a topic in that sub-index (i.e. "Daphni, Pantocrator") but this will not take the place of an eventual full page on that topic.]
Click on an entry's hyperlink below to go to that entry. If an entry is not hyperlinked, it is a planned future entry in this encyclopedia.
[Damon, Paul] [Danin, Avinoam] [Daphni, Pantocrator] [d'Arcis, Bishop Pierre] [de Charnay, Geoffroi] [de Charny, Geoffroi II] [de Charny, Geoffroi] [de Charny, Marguerite] [de Clari, Robert] [de Poitiers, Bishop Henri] [de Vergy, Jeanne] [de Wesselow, Thomas] [decomposition] [Delage, Yves] [dimensions of the Shroud] [directionality] [Doctrine of Addai]
Notes
1. This post is copyright. No one may copy from it or any of my posts on this my The Shroud of Turin blog without them first asking and receiving my written permission. Except that I grant permission, without having to ask me, for anyone to copy the title and one paragraph only (including one graphic) of any of my posts, provided that they include a reference to the title of, and a hyperlink to, that post from which it came. [return]
2. "Christ Pantocrator," Wikimedia, 7 November 2013. [return]
3. Maher, R.W., 1986, "Science, History, and the Shroud of Turin," Vantage Press: New York NY, p.77. [return]
4. Ruffin, C.B., 1999, "The Shroud of Turin: The Most Up-To-Date Analysis of All the Facts Regarding the Church's Controversial Relic," Our Sunday Visitor: Huntington IN, pp.110-111. [return]
Created: 3 September, 2014. Updated: 18 December, 2014.
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4 comments:
Actually, that mosaic picture only needs 1 marking to make it obviously derived from the Shroud -- the hairs-on-the-forehead aka blood-mark on the forehead....
Nabber
>Actually, that mosaic picture only needs 1 marking to make it obviously derived from the Shroud -- the hairs-on-the-forehead aka blood-mark on the forehead....
No. The tufts of hair on the Man's forehead occur on other ancient artworks, not related to the Shroud.
But they can be explained by the fact that Byzantine art sought to depict Christ as alive and ruling, not dead with bloodstains, so Byzantine artists depicted tufts of hair on the forehead to stand for the reversed 3 bloodflow on the Shroud.
It might be possibly to explain away each individual Vignon making by an ad hoc explanation, but it is the WHOLE PACKAGE of 15 Vignon markings that occur on the Shroud, some of them just flaws and creases in the weave, that cannot plausibly be explained away.
Stephen E. Jones
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I'm unaware of art of this period that uses prominent tufts of hair which originate from a parted hairstyle consisting of all long hair. On a portrayal of a short-hair like Augustus, perhaps. For me the Vignon markings are reinforcing, but the forelocks/blood-mark connection are too much of a coincidence to not be source-and-copy.
Nabber
>I'm unaware of art of this period that uses prominent tufts of hair which originate from a parted hairstyle consisting of all long hair.
What period? If you mean 14th century then I agree.
But I have seen somewhere (it may have been when I was on Dan Porter's blog which I have had a self-imposed ban not to look at since 8 May) that there were other ancient artworks, not about Christ, which have a tuft of hair where it is on Byzantine depictions of Christ that have the other Vignon markings.
If you Google "Shroud Turin tuft hair reversed" (without the quotes) there are some hits to Dan's blog. If you check them out, could you comment here what the anti-Shroud claim was?
>On a portrayal of a short-hair like Augustus, perhaps.
I can't remember, but I thought it was on depictions of ancient Greek or Roman persons and/or gods.
>For me the Vignon markings are reinforcing,
Agreed. The improbability multiplies and the more there are, the increasingly far greater it becomes.
>but the forelocks/blood-mark connection are too much of a coincidence to not be source-and-copy.
Agreed, it the context of all 15 Vignon markings the tufts of hair just where the reversed 3 is on the Shroud is too much of as coincidence.
But it is the Vignon markings that are just flaws in the weave, or wrinkles in the cloth, of the Shroud, such as the topless square and the neckline of Jesus' garment, which are to me the most convincing.
Stephen E. Jones
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