The Christian Ear is a forum for discussing and listening to the voice of today's church.
The Lord spoke to churches,“He who has an ear, let him hear what the Spirit says to the churches.” Rev 2&3
March 28, 2016
Easter Brunch
My church, like many others, held a Sunday Easter brunch.
When I asked my friend Brad if his church had a brunch he said, “No, we just
had the Lord’s Supper.” Touche’
1 comment:
Steve Corey
said...
Gail;
-----Phillip E Dayvault, a former FBI agent and a physical-science technician claims to have stumbled across the Keramion, a tile impression of the Image of Edessa commissioned by King Abgar V in AD30 for placement over Edessa’s main gate. The small piece of tile measure’s about the size of a dinner plate, and about four inches thick at its deepest point. But Ian Wilson, author of “The Shroud”, and probably the most knowledgeable Shroud investigator, says this small tile was hacked out of the ground by a Sanliurfa (modern city of Edessa) resident when expanding his home. It was sold to the Sanliurfa museum on a no questions asked basis (which leads one to wonder how it is known to have been hacked out of the ground by a local resident expanding his home.) I saw the same image displayed in the 1958 Encyclopedia Britannica as being one of the earliest depictions of Christ from a second century Sanliurfa church. The tile is obviously a mystery beyond the fact that it is sixth century or earlier, and that it demonstrates the Edessan origin of today’s depictions of Jesus as long-haired, long nosed, and bearded, just like the face impressed on the Shroud of Turin. -----Whether or not this particular tile is the Keramion, it attests to the Keramion and the Shroud of Turin, both being related to the Image of Edessa by my favorite word, tetradiplon, which I explained to you several weeks ago. The Keramion, being placed over Edessa’a main gate would have been publicly available for copying. Moreover, the Keramion’s artists would have been available for the creation of like works, which soon would have embellished the numerous churches with which Edessa arrived into the sixth century wherein this same type depiction of Christ was deliberately spread over the Middle-East and Eastern Europe through a missionary-like effort. -----Why the effort in the sixth century, but not before? One of Abgar V’s successor sons reverted Edessa from Christianity back to paganism around AD57. There followed a murderous rampage instigated by this brat-king to eliminate all Christian artwork and all Christian holdouts. The Image of Edessa (aka The Shroud) was hidden in a cubbyhole above the city’s main gate along with the tile depiction of it that once adorned that very location, and also hidden was the oil lamp used to perform this deed overnight. By morning the main gate was “properly” ornamented with a new pagan image, the precious treasure safely secreted behind it. And so Edessa lived the next five hundred years without imagery to portray its long held tradition of King Abgar V’s healing by the Image of Edessa brought to him by Thaddeus, one of the seventy. A copy of the apocryphal letter Jesus sent with Thaddeus to Abgar replaced the brat-king’s pagan image over the main gate, and the city stood big on the legend for five hundred years until the devastating flood of AD525. -----Following the Byzantine Emperor Justinian’s project to rebuild Edessa, the Image of Edessa comes into written history as an actually possessed object instead of a legendary memory. Ian Wilson’s conclusion is that the Shroud of Turin was found during that rebuilding project and was properly identified as the missing Image of Edessa. I find his conclusion to be more than reasonable. The people of Edessa would have been ecstatic. The new excitement over the once lost image would certainly have driven what history records as the almost missionary like effort to spread the likeness of Christ around their known world. -----This tiny slice of history, plus the realities of the blood stains on the Shroud, the total mystery of how its image was made, as well as the testimony of the Oveido cloth provide more proof of Christ’s resurrection than we have of Plato’s existence. As such, it proves also the bigotry of science.
1 comment:
Gail;
-----Phillip E Dayvault, a former FBI agent and a physical-science technician claims to have stumbled across the Keramion, a tile impression of the Image of Edessa commissioned by King Abgar V in AD30 for placement over Edessa’s main gate. The small piece of tile measure’s about the size of a dinner plate, and about four inches thick at its deepest point. But Ian Wilson, author of “The Shroud”, and probably the most knowledgeable Shroud investigator, says this small tile was hacked out of the ground by a Sanliurfa (modern city of Edessa) resident when expanding his home. It was sold to the Sanliurfa museum on a no questions asked basis (which leads one to wonder how it is known to have been hacked out of the ground by a local resident expanding his home.) I saw the same image displayed in the 1958 Encyclopedia Britannica as being one of the earliest depictions of Christ from a second century Sanliurfa church. The tile is obviously a mystery beyond the fact that it is sixth century or earlier, and that it demonstrates the Edessan origin of today’s depictions of Jesus as long-haired, long nosed, and bearded, just like the face impressed on the Shroud of Turin.
-----Whether or not this particular tile is the Keramion, it attests to the Keramion and the Shroud of Turin, both being related to the Image of Edessa by my favorite word, tetradiplon, which I explained to you several weeks ago. The Keramion, being placed over Edessa’a main gate would have been publicly available for copying. Moreover, the Keramion’s artists would have been available for the creation of like works, which soon would have embellished the numerous churches with which Edessa arrived into the sixth century wherein this same type depiction of Christ was deliberately spread over the Middle-East and Eastern Europe through a missionary-like effort.
-----Why the effort in the sixth century, but not before? One of Abgar V’s successor sons reverted Edessa from Christianity back to paganism around AD57. There followed a murderous rampage instigated by this brat-king to eliminate all Christian artwork and all Christian holdouts. The Image of Edessa (aka The Shroud) was hidden in a cubbyhole above the city’s main gate along with the tile depiction of it that once adorned that very location, and also hidden was the oil lamp used to perform this deed overnight. By morning the main gate was “properly” ornamented with a new pagan image, the precious treasure safely secreted behind it. And so Edessa lived the next five hundred years without imagery to portray its long held tradition of King Abgar V’s healing by the Image of Edessa brought to him by Thaddeus, one of the seventy. A copy of the apocryphal letter Jesus sent with Thaddeus to Abgar replaced the brat-king’s pagan image over the main gate, and the city stood big on the legend for five hundred years until the devastating flood of AD525.
-----Following the Byzantine Emperor Justinian’s project to rebuild Edessa, the Image of Edessa comes into written history as an actually possessed object instead of a legendary memory. Ian Wilson’s conclusion is that the Shroud of Turin was found during that rebuilding project and was properly identified as the missing Image of Edessa. I find his conclusion to be more than reasonable. The people of Edessa would have been ecstatic. The new excitement over the once lost image would certainly have driven what history records as the almost missionary like effort to spread the likeness of Christ around their known world.
-----This tiny slice of history, plus the realities of the blood stains on the Shroud, the total mystery of how its image was made, as well as the testimony of the Oveido cloth provide more proof of Christ’s resurrection than we have of Plato’s existence. As such, it proves also the bigotry of science.
Love you all,
Steve Corey
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