This is continuation from the other thread where ibrahim and others are enforcing that the shroud of turin is merely a scam painiting. On the other hand the double stranded DNA sample collected from the blood marks on shroud is of human origin.. this made the topic controversial that either the painter has used human blood instead of red-brown color or it is infact the original shroud of some unknown human.. most likely the Jesus(as).
I ask ibrahim and the rest to read this interesting article, (which has compared both McCrone's views and others regarding the Turin Shroud) and share their views..
Is the Shroud of Turin a Painting?
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Some characteristics of the image, as found on the Shroud of Turin:
[This message has been edited by Zalim (edited March 18, 2002).]
I ask ibrahim and the rest to read this interesting article, (which has compared both McCrone's views and others regarding the Turin Shroud) and share their views..
Is the Shroud of Turin a Painting?
============================================
Some characteristics of the image, as found on the Shroud of Turin:
- Superficiality: Although it is quite likely that the areas associated with the stigmata are formed from blood, the negative image itself is essentially the enigmatic discolouration of the uppermost fibres of the linen threads which constitute the Shroud's fabric. This image has not `penetrated' the threads in the sense that it is not visible on the underside of the Shroud. In addition, the image is not visually coherent to the naked eye at close range.
Detailed: The Shroud's negative image, once transformed to a positive state by means of modern photography, is highly detailed, which has allowed medical experts to claim that they are able to detect the presence of such details as rigor mortis, contusion wounds, excoriations and a variety of facial wounds. It should also be considered that without the medium of modern photography it is uncertain if anyone living before c 1898 could have seen these details (that is when Secondo Pia made his historic photographic negatives of the Shroud).
Thermally stable: The Shroud's image was not affected by the intense heat of a fire which nearly destroyed it in 1532.
No pigment: It is quite certain that no pigment was applied to the Shroud and the image is not caused by pigment, dye or stain, either.
Three-dimensional: The intensity of the image varies according to the distance of the body from the cloth, strongly suggesting that the body did not in fact come into direct contact with the Shroud. The mathematical ratio is so precise that Jackson and Jumper were able to create a three-dimensional replica from the image.
Negative: The image is a negative which is as visually coherent as a positive photograph when its tonal polarity is reversed.
Directionless: The process that formed the image operated in a non-directional fashion. It was not generated according to any directional pattern as it would have been if applied by hand. A painting, for example, shows strong directionality, that is, the direction by which the medium was applied is evident from the brush strokes.
Chemically stable: The straw-yellow discolouration composing the Shroud image cannot be dissolved, bleached, or changed by standard chemical agents.
Water stable: The Shroud was doused with water to extinguish the fire of 1532. Although this has caused a visible water stain, the image itself does not appear to be affected.
Reference
[This message has been edited by Zalim (edited March 18, 2002).]
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