Monday, April 2, 2007

Shroud continued....

The idea that the shroud was a painting was denied on every front by the evidence. The image is a faint yellow 'straw' colour which is barely visible unless you stand at a distance of 15+ feet. The image is not painted using normal light and shadow. The darker areas are those that would have the minimal perpendicular distance if a plane was laid on top of the image while areas that recede from that plane are lighter in colour. To the natural eye the image would appear as a negative since the receded portions would naturally be in shadows while on the shroud they are light. (thus the stark recognition of the image on a photographic negative) The areas that show wounds are done with real blood (ten different tests) and the flow from the front wound around to the lower back is anatomically logical. The crucifixion wounds show on the wrist rather than on the hands. Tests later showed the wrist is the more likely location of a spike, as the hand is not sufficient to support the weight of a body. Dirt is embedded in the cloth at the location of the feet. The medium used to create the image could not be a fluid as there are no traces of the miniscus effect which a fluid would leave. The artist could only cover the very surface of each fibril.

Thus in summary, an artist would need to 'paint' a 3-dimensional data image, in the negative, which cannot be seen from a paintable distance. He would need to cover only the surface of each fibril with a fluidless medium. He would need to paint the wounds with real blood, embed some dirt in the foot areas and place wounds in the wrists rather than the hands contrary to available information in medieval times. He would need to paint on a 14+ foot canvas with a perfect recreation of pressure points based on the weight of a human body and include full length ventral and dorsal view.



<- Image Fibrils
Blood Fibrils ->






In spite of this information there was one "scientist" who claimed the shroud had pigment on it and concluded it was a painting. All other scientists using the same evidence and equipment could not verify his claims in the least. That scientist would not show his analysis to other scientists and refused to attend forums discussing his conclusions. He continues to promote his theory to this day.

A plausible theory: The image most resembles a type of radiation burn. If you view the universe as expressions of matter, energy and/or spirit it's feasible that as Jesus body went from matter to spirit as it passed through the intermediary stage of energy, it left a burn on the cloth. The points directly touching the cloth leaving a denser image. The reverse then is also true when spirit is converted to matter as in the creation. This fits with the "let there be" in Genesis as God's spirit is directed to take on the form of matter. This transformation is not without cost as God is inclined to take rest from this form of effort.

Not necessarily a direct fit, but Wolfgang Pauli describes science as "finding the spirit in matter". More to the point is Einstein's e=mc² which mathematically described the non-spiritual side of the equation. There is also proof of the remaining energy to spirit conversion. It showed itself in studies of quantum mechanics. These observations Einstein rejected with the statement that "God doesn't roll dice with the universe" when in fact, it was later proved that he does exactly that. Alas, this will necessarily be covered in another post.