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No one disputes that the Shroud of Turin is a centuries old linen cloth. And no one disputes that it contains realistic looking front and back images of a crucified man. Indisputable, as well, is the fact that images on the Shroud are similar to photographic
negatives. Furthermore, the image contains three-dimensional encoding which can be plotted as an isometric topography of a human form.
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Some of the material in this essay is obsolete. Please refer to the The Searching for Sister Ann's Bishop Who Thinks Ann is Nuts An Episcopalian's Perspective -- AN ONLINE ESSAY -- By Daniel R. Porter |
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Part 5: The Resurrection Problem No one disputes that the Shroud of Turin is a centuries old linen cloth. And no one disputes that it contains realistic looking front and back images of a crucified man. Indisputable, as well, is the fact that images on the Shroud are similar to photographic negatives, which, when photographed in negative, reveal extraordinary details, particularly in the face. Furthermore, the image contains three-dimensional encoding which can be plotted as an isometric topography of a human form as was done with NASA imaging equipment. (This can now be done with standard ray-tracing software running on a personal computer). It is, beyond question, a topographic map, in negative tones, of a human body. It is difficult to imagine that anyone would or could make an image this way and a natural process has yet to be identified that can produce such images. The body images are not the only images on the cloth. There are some baffling floral and plant imprints on the Shroud including one of a particular variety of bean caper (Zygophyllum dunosum) that is only found in the Jerusalem area, western Jordan, and areas south of Jerusalem including the Sinai. One floral image, a Chrysanthemum - though a poor geographical indicator - is clearly visible to the naked eye. The Chrysanthemum is particularly interesting because its image, in proper proportions of size and placement, is found in a sixth century Pantocrator icon and on Byzantine coins. It is difficult to imagine that a medieval European forger knew of this - or would care about it. Other plant images on the Shroud can best be seen with the aid of photographic or computer enhancement. The chemistry of the images is particularly amazing and defies a complete explanation. Suffice it to say that all imaginable and expected natural processes have been ruled out including scorching heat, vaporous chemical reactions, and any contact mechanism. So too, artistic and proto-photographic methods have been sufficiently eliminated. Theoretical physicists have suggested that the imagery is consistent with proton or alpha particle bombardment but that seems to challenge current scientific understanding. Since no other viable alternatives have been proposed the images are mysteries. Bloodstains on the cloth exhibit a peculiar forensic characteristic in that they show no sign of being smeared while wet, or cracked and pulled apart while dry. These forensic characteristics of smearing or pulling apart are expected if a bloody human body were separated from the Shroud. Nonetheless, the stains are medically accurate, serum separated, clotted, specific vein and artery bloodstains. It is real human type-AB blood. The stains were created by physical contact with a human body. The cloth is empty yet the evidence suggests that the body was not removed intact. Thus the bloodstains are a mystery, as well. And because the images and the bloodstains are so mysterious and so inexplicable, some speculate that they could only be the byproduct of a miracle: the resurrection.
Dan Porter is an Episcopalian and a member of Trinity Church, Wall Street, in New York City. He may be contacted by email at porter@shroudstory.com or by mail at 20 McIntyre Street, Bronxville, NY 10708. (c) Copyright 2001, Daniel R. Porter. All Rights Reserved. This article may be reproduced in full for any non-commercial purpose without further permission.
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