Book Review of the John Klotz’s The Coming of the Quantum Christ

imageIt is a MUST READ, Jack Markwardt’s insightful book review of The Coming of the Quantum Christ—The Shroud of Turin and the Apocalypse of Selfishness by John Klotz.

It’s a must read from the first sentence . . .

Readers drawn to literary efforts which provide both intellectual stimulation and eclectic variety will undoubtedly enjoy The Coming of the Quantum Christ—The Shroud of Turin and the Apocalypse of Selfishness, a delightful concoction blended by its author, John Klotz, from such disparate ingredients as the environment, quantum mechanics, and a world-famous relic.

. . . to the last . . .

In doing so, he has effectively thrown a gauntlet at the feet of his skeptical adversaries, challenging them either to concede that the renowned relic is indeed genuine or to submit a counter-closing argument, based upon relevant probative evidence, which not only establishes its medieval origin but also explains the manner in which its mysterious image was created.

With this review
, John Klotz is offering a 15% discount for online purchases of his printed book as a special savings for viewers of You need a special code that will allow you to order the book from Create Space (an Amazon Company) for $39.94 (plus shipping).  No, I can’t tell you what the code is. Proper Netiquette demands that I link to the appropriate page at CLICK HERE for that page.

This review and discount offer is part of today’s Spring Update of

The Shroud of Turin is not the Image of Edessa?

the sixth-century Image of Edessa “probably never actually looked like a cloth at all.”

If you weren’t in St. Louis on Sunday morning of the conference for Jack Markwardt’s special presentation, then Modern Scholarship and the History of the Shroud of Turin is a MUST READ:

clip_image002In 1997, Professor Robin Cormack, an art historian, concluded that Wilson’s identification of the Turin Shroud with the Mandylion was “an impossible guess”, pointing to a depiction of that icon in a St. Catherine Monastery panel painting that is datable to 945-959 (Figure 1).

In 2010, Wilson acknowledged that “a fringe runs along the bottom edge where we would expect the Shroud’s fold line to be,” but he then proceeded to argue that varying portrayals of the Mandylion cancelled out one another as reliable representations of that icon and made it improbable that Byzantine artists “had actually viewed at first hand the original Image they were copying”; however, this stance constituted a rather dramatic about-face from that which he had assumed in 1998 when, in support his folded-relic hypothesis, he had contended that copies of the Mandylion, such as the now-lost image of Spas Nereditsa (Figure 2), “convey other recurring possible clues to the original’s clip_image004appearance”, such as a lattice-type decoration possibly denoting the presence of an overlay grille and an image which had been set upon a landscape-aspect cloth. If, as Wilson presently asserts, Byzantine artists did not actually view the original Mandylion in producing copies of it, then depictions that feature lattice-type decorations and landscape-aspect cloths would not necessarily be evidential of that icon having been the hypothetically folded and framed Turin Shroud.

Other unfavorable academic commentary would quickly ensue. In 1998, Professor Cameron flatly pronounced that “the Edessan image has nothing to do with the Shroud of Turin.” In 2003, Andrew Palmer, a professor of Byzantine history, in dating the Acts of Thaddeus, which alludes to an image of Jesus on cloth, to the period of 609-726 CE,undermined Wilson’s claim that it had been written in the sixth century and coincidental with the alleged historical appearance of the Edessa icon. In 2004, Professor Sebastian Brock, perhaps the world’s foremost authority on Syriac texts, declared that the Mandylion’s history provided “a very unsatisfactory ancestry for those who would like to identify the famous Turin Shroud with the Edessan Mandylion.”

In 2007, Mark Guscin, a well-known authenticist, concluded that the Sermon of Gregorius Referendarius recites “that the sweat of agony (like drops of blood) adorned the Image (of Edessa), just like blood from its side adorned the body from which the sweat had dripped, i.e. two different events at two different times,” refuting Wilson’s assertion that it referenced blood flowing from Jesus’ side wound, thereby proving that the Edessa icon had borne a full-length image of his crucified body. In that same year, Professor Irma Karaulashvili, a Georgian scholar and specialist in Syriac texts, observed that the Image of Edessa “seems to have been painted, most plausibly on wood”, citing several Syriac sources which had variously described the early Edessa icon as a quadrangle wooden tablet, a dappa (tablet), and a piece of wood.In doing so, Karaulashvili concurred with Cameron that the sixth-century Image of Edessa “probably never actually looked like a cloth at all.”

But, read on:

clip_image003Not only does the cloth of the Image of Edessa, as so depicted, strongly resemble an imaged Byzantine labarum (see Figure 19), but also the image of Jesus presented on that cloth mirrors the facial image of the Turin Shroud, absent its wounds and bloodstains, particularly with regard to their respective mouths, beards, and uneven lengths of hair (see Figure 20),and if the tenth-century Image of Edessa was, in fact, a late sixth-century Byzantine labarum, an object which modern scholars “nearly universally believe” to have been modeled upon Constantinople’s Image of God Incarnate,then that archetypal acheiropoietos image of Jesus was almost certainly the Shroud of Turin.


Jack Markwardt’s Antioch Theory

clip_image001Jack. pictured here, will be presenting two papers at
the St. Louis Conference

1)  Modern Scholarship And The History Of The Turin Shroud

2) The Full-Length History Of The Turin Shroud

Daveb brought up the Antioch theory in response to Charles Freeman’s call for looking beyond the Edessa-Constantinople route. Daveb wrote:

I have previously mentioned Markwardt’s theory that the Shroud was taken to Antioch and kept there. It makes a lot of sense to me, more than taking it to Alexandria as Charles would seem to have it. We know that Peter was first bishop of Antioch, and there is good indicative evidence that he held the burial cloths. Markwardt [pictured here] suggests that the hiding of the Shroud in a wall in Antioch for safe-keeping when other relics were being pillaged or destroyed there, may be the true basis of the similar story from Edessa, Antioch, although often prone to earthquakes, and on the Orontes, could more likely have had a more conducive climate for the cloth’s survival in a wall than Edessa. He suggests that it was taken to Edessa only when Antioch was under threat from the Persian Chosroes. Arriving in Edessa, it was of course not stored in a wall but in the Hagia Sophia cathedral there.

I posted something on this topic back in April of 2012. I think it warrants another look. And the linked-to PDF is definitely worth reading. As posted then:

Jack Markwardt explains:

imageI originated and presented this hypothesis to an international conference convened at Ohio State University in 2008 for the simple reason that the early history of the Turin Shroud cannot be credibly linked to the ancient city of Edessa through a literal application of the Abgar legend. The preeminent historian of Edessa, J.B. Segal, after years of arduous study and investigation, concluded that the Abgar legend constitutes “one of the most successful pious frauds of antiquity”. It should not be surprising, therefore, that a number of highly-respected modern historians have summarily rejected this pious fraud as evidential of the Turin Shroud’s whereabouts during the first Christian millennium, particularly because real historical evidence provides not the slightest indication that pagan Edessa was even partially converted to Christianity prior to the late second-century reign of King Abgar the Great. The preeminent historian of Antioch, Glanville Downey, ascribed that development to a two-phase evangelization mission, one which initially resulted in the baptism of Abgar the Great and ultimately concluded with the consecration of Edessa’s first bishop, Palut, in 200 CE, by Serapion, the bishop of Antioch. Relatively recent attribution of an image of Christ to the city of Edessa during the first half-millennium of Christianity arises exclusively from a substantial permutation of the Abgar legend authored, in ca. 945, by a Byzantine Emperor who desired to bestow an apostolic provenance upon the Christ-icon which had recently been transferred to his capital from Edessa. In order to explain away, in one bold imperial stroke, the complete historical anonymity of this icon during the first five Christian centuries, Constantine VII Porphyrogenitus sponsored the publication and circulation of a tale which featured not only the cloth’s first-century concealment within a niche located above an Edessa city gate, but also its miraculous rediscovery there by a fictional Edessan bishop, Eulalius, during the Persian siege of 544 CE. It has been suggested, in lieu of this incredible miracle-discovery tale, that the icon was actually found in the wake of the great flood of 525 CE which damaged Edessa’s city walls; however, it is rather significant that such a truly notable event merited no mention whatsoever in the Edessan Chronicle, a Syriac work composed in ca. 540-544 CE, which not only described the great flood but also detailed the most commonplace of Edessan ecclesiastical matters. In my opinion, modern scholarship will continue to reject the identification of the acheiropoietos image of Christ which was brought from Edessa to Constantinople in 944 CE with the Turin Shroud unless and until the provenance of that icon, and the circumstances surrounding its arrival in Edessa, can be reasonably established on the basis of non-legendary evidence.

I was there at Ohio in 2008 and remember the presentation, Ancient Edessa and the Shroud: History Concealed by the Discipline of the Secret. It was excellent. Read it.