The historical record for the Turin Shroud can be separated into two time periods: before 1390 and from 1390 to the present. The period until 1390 was subject to debate and controversy among historians. Prior to the 14th century there were some allegedly congruent but controversial references like the Codex Pray. It is often mentioned that the first particular historical record dates from 1353 or 1357. But the presence of the Turin Shroud in Lirey, France, was undoubtedly proven in 1390 when Bishop Pierre d'Arcis wrote a memorandum in which he alleged that the Shroud was a forgery. The history from the fifteenth century to the present is well documented. In 1453, Margaret de Charny handed the shroud to the House of Savoy. In the 17th century the shroud had been displayed (for example in a chapel built for that purpose by Guarino Guarini) and in the 19th century the photograph was first photographed during a public exhibition.
There is little definite historical record of the shroud before the 14th century. Although there have been many reports of Jesus' shroud, or the image of his head, unknown origin, respected in various locations before the 14th century, there is little reliable historical evidence that this refers to the shroud currently in Turin Cathedral. The cemetery, believed by some historians, was the Shroud, owned by the Byzantine emperors, but lost in the days of the Constantinople sack in 1204.
Barbara Frale has mentioned that the Order of the Templars has a relic showing a red, monochromatic image of a bearded man with linen or cotton. Historical records seem to indicate that the shroud containing the image of a crucified man was in possession of Geoffroy de Charny in the small town of Lirey, France circa 1353 to 1357. However, this shroud correspondence with a Turin shroud, and its origins have been disputed by scholars and lay writers, with counterfeit claims attributed to artists born a century apart.
Some argue that the Lirey shroud is the work of a forgers and a confessed murderer. Professor Nicholas Allen of South Africa on the other hand believes that the images were made in photographs and not by an artist. Professor John Jackson of the Turin Shroud Center of Colorado argues that the shroud in Turin dates back to the 1st century.
The history of the shroud of the fifteenth century is well documented. In 1532, the shroud was damaged by a fire in the chapel where it was kept. A drop of molten silver from the relic produces a mark that is placed symmetrically through the folded fabric layers. Poor Clare Nuns is trying to repair this damage with patches. In 1578 the House of Savoy brought the shroud to Turin and remained in Turin Cathedral ever since.
The repair was done on a shroud in 1694 by Sebastian ValfrÃÆ'¨ to repair the improvements of Clare Poor nuns. Further improvements were made in 1868 by Clotilde of Savoy. The shroud continued to belong to the Savoy House until 1983, when it was granted to the Holy See, the Savoy Family rule ended in 1946.
The fire, probably caused by arson, threatened the shroud on April 11, 1997. In 2002, the Holy See returned the shroud. Backing the fabric and thirty patches removed, allowing to photograph and scan the back side of the fabric, which has been hidden from view for centuries. The latest public exhibition of the Shroud is from 19 April to 24 June 2015.
Video History of the Shroud of Turin
Sebelum abad ke-14
The Hebrew gospels of a 2nd century manuscript still exist in about 20 lines declaring 'and after He had given the linen cloth to the priest's servant he appeared to James'
Although there are many reports of Jesus' shroud, or the image of his head, unknown origin, respected in various locations before the fourteenth century, there is no historical evidence that this refers to the shroud currently in Turin Cathedral.
The Gospel of John states that: "Then came Simon Peter following him, and went to the tomb, and saw linen [othonia] lying, and napkin [soudarion], it was about his head, not lying in linen clothes, but wrapped together somewhere by itself "(John 20: 6-7, KJV). The Gospel of Matthew (27:59), Mark (15:46), and Luke (23:53) all refer to the one "wrap" (wrap) of linen wrapped (entulisso) around the body of Jesus. In other Greek usages the word "sindon" refers to a wrapper such as a toga (Mark 14: 51-52) or a mummy wrap (Herodotus 2, 86).
The image of Edessa is reported to contain the image of the face of Jesus, and its existence has been reported since the sixth century. Some people suggest the connection between the Turin Shroud and the Edessa Drawings. There is no legend connected to the picture that shows that the picture contains a picture of Jesus being beaten and bleeding. It is said to be the image Jesus transferred to the fabric of life. This image is generally depicted only describing the face of Jesus, not the whole body. Proponents of the theory that Edessa's image is actually a shroud, led by Ian Wilson, theorizes that it is always folded in such a way as to show only the face, as recorded in the apocryphical Acts of Thaddeus from around that time, which says it is tradiplon - folded into 4 sections.
Ian Wilson, under 'The Chronology of the Reconstruction of the Shroud of Turin' tells us that the 'Addai Doctrine' mentions a 'mysterious portrait' in connection with the healing of Abgar V. A similar story is recorded in Eusebius' 'Church History' bk 1, ch 13, which does not mention portraits.
Three main evidences are cited that support the identification with the shroud. Saint John of Damascus mentions the image in his anti-iconoclastic work, On Ill Images, depicting Edessa's image as a "strip", or a longitude rather than a square, as any other Edessa's account of fabric continues. However, in his description, St. John is still talking about the image of Jesus' face when he was alive.
In some articles, Daniel Scavone, professor Emeritus of history at Indiana's Southern University, put forward a hypothesis that identifies the Turin Shroud as a real object that inspires the Holy Grail's jewels.
In contrast, Averil Cameron, the Late Antique and Byzantine History expert at Oxford University, denies the possibility of Turin shroud identified with Citra Edessa. Among the reasons is the too great a difference in the historical description of Edessa's Image compared to the shroud. Edessa's image, according to him, comes from resistance against the Byzantine iconoclasm.
On the occasion of the transfer of cloth to Constantinople in 944, Gregory Referendarius, archdeacon Hagia Sophia in Constantinople, delivered a sermon on artifacts. This sermon was lost but rediscovered in the Vatican Archives and translated by Markus Guscin in 2004. The sermon says that this Edessa cloth contains not only the face but also the long picture, which is believed to be from Jesus. The sermon also mentions blood stains from the wound on the side. Other documents have since been found in the Vatican and Leiden University libraries, the Netherlands, which justify this impression. "Non tantum faciei figuram sed totius corporis figuram cernere poteris" (You can see not only the figure of the face, but [also] the whole body figure). (In Italian) (Cf. Codex Vossianus Latinus Q69 and Vatican Library Codex 5696, p.Ã, 35.)
An illustration of what appears to be some of the Turin Shrouds complete with distinctive "L-shaped" signs and what some people interpret to be the weaving of the fishbone are described in Codex Pray, an illuminated manuscript written in Budapest, Hungary between year 1192. and 1195.
In the National Library of Budapest is Pray Manuscript, the oldest surviving Hungarian text. It was written between 1192 and 1195 (65 years before the earliest date of carbon-14 in the 1988 test). One illustration shows the preparation for Christ's burial. The picture was said to include burial cloth in the post-resurrection scene. According to supporters, he has the same herringbone as the Weave, plus four holes near one end. The holes form the "L" shape. Proponents claim this peculiar hole pattern is similar to that found in the Turin Shroud. They burn holes, maybe from hot poker or coal incense. On the other hand, Italian researcher Shroud Gian Marco Rinaldi interprets items sometimes identified as Shroud as rectangular tombstones that may be as seen in other sacred images, suspected holes as decorative elements, as seen, for example, on the wings of an angel and clothing. Rinaldi also points out that the shroud presumed in the Pray codex does not contain any images. Furthermore, it is almost impossible that anyone who has seen the Shroud will show that Christ was buried without any sign of the wounds shown so clearly on the Shroud.
In 1204, a knight named Robert de Clari who participated in the Fourth Crusade who captured Constantinople, claimed it was one of the countless relics in the city: "Where is the Shroud where our Lord has been wrapped, which on Fridays lifted himself upright so that one could see the figure of our Lord upon it and nobody knows - neither the Greeks nor Frank - what the shroud was when the city was taken. "(The clear miracle of the self-raised cloth can is regarded as a false translation: passive French passively takes the form of a reflexive verb.Thus the original French can also be translated as an upright raised cloth.delivery problems of facts De Clari does not show that he witnessed something unusual.) However, historians Madden and Queller describe part of this Robert story as a mistake: R. obert has actually seen or heard of the sudarium , the handkerchief of Saint Veronica (which also supposedly contains the image of Jesus), and confusing it with a shroud ( syndrome). In 1205, the following letter was allegedly sent by Theodore Angelos, Michael I's brother Komnenos Doukas, to Pope Innocent III who protested the attack on the capital. From the document dated August 1, 1205 in Rome: "The Venetians divided the treasures of gold, silver, and ivory, while the French did the same with the relics of the saints and the holiest of all, the linen where our Lord Jesus Christ was wrapped up after his death and before the resurrection We know that the sacred objects were preserved by their predators in Venice, in France, and in other places, the sacred linen in Athens. "(Codex Chartularium Culisanense, fol, CXXVI (copia) , Bilioteca del Santuario di Montevergine) According to Emmanuel Poulle, a French medievalist, although the Mandylion is not the Shroud of Turin, the texts "prove the existence of the Shroud in Constantinople before 1204". But it is claimed that Theodore's letter and other documents contained in the Chartularium are modern counterfeits.
Unless it is the Shroud of Turin, the location of Citra Edessa since the 13th century is unknown but may have been among the relics sold to Louis IX and took place in Sainte-Chapelle in Paris until it was lost in the French Revolution.
Some authors state that the shroud was taken by the knight of Otto de la Roche who became the Duke of Athens, sometimes adding that he immediately released it to the Knights Templar. It was then taken to France, where the first known guard of the Turin Shroud had a good relationship with both the Templars and Otto's descendants. Some speculate that the shroud could be a major part of the famous "Templar treasures" still sought by today's treasure hunters.
Relations with the Templars seem to be based on the coincidence of family names; The Templars are celibate orders and it is impossible to have children after entering the Order.
Maps History of the Shroud of Turin
the 14th and 15th centuries
The most complete academic record of the history of the Shroud since its first appearance in 1355 was John Beldon-Scott, Architecture for the Shroud: Relics and Rituals in Turin, University of Chicago Press, 2003. This study is indispensable for many illustrations showing the Shroud picture feature is now gone.
The 14th century attribution of the shroud origin refers to a shroud in Lirey, France dating 1353-1357. It is related that the widow of the French knight Geoffroi de Charny (said to be Templar Geoffroy de Charney burned at the stake by Jacques de Molay) was shown at a church in Lirey, France (Troat diocese). According to 1913 Catholic Encyclopedia :
On June 20, 1353, Geoffroy de Charny, Lord of Savoisy and Lirey, was founded in Lirey in honor of the Annunciation of a college church with six canonries, and in this church he opened the worship of the Holy Winding Sheet. The opposition appeared on the part of Bishop Troyes, who claimed after the investigation that the remains were nothing but a painting, and opposed his exposition. Clement VI by four Bulls, Jan. 6, 1390, approved the exposition as valid. In 1418 during the civil war, the canon entrusted the Winding Sheets to Humbert, Count de La Roche, Lord of Lirey. Margaret, Humbert's widow, never returned it but gave it in 1452 to the Duke of Savoy. Canire requests from Lirey are inevitable, and the Lirey Winding Sheet is the same that is now exposed and respected in Turin. "
At the Cluny Museum in Paris, this knight arm's coat and his widow can be seen at a pilgrimage meditation, which also shows a Shroud of Turin.
During the fourteenth century, the shroud was often shown publicly, though not continuously, because the bishop of Troyes, Henri de Poitiers, had banned the worship of the image. Thirty-two years after this announcement, the picture was shown again, and Charles VI's King of France ordered his transfer to Troyes, citing the imperfect image. The sheriffs can not carry out orders.
In 1389, the image was denounced as a fraud by Bishop Pierre D'Arcis in a letter to Avignon Antipope Clement VII, saying that the image had previously been criticized by his predecessor Henri de Poitiers, who worried that there were no such images. mentioned in the scriptures. Bishop D'Arcis continued, "Finally, after diligent investigation and examination, he discovered how the fabric was painted with a wily, the truth proved by the artist who painted it, that the work is a human skill and not magically forged or granted." German:.) The artist is not mentioned in the letter.
The Bishop of D'Arcis also mentioned the efforts of Bishop Henri to suppress the worship but noted that the cloth was quickly concealed "for 35 years or more", thus agreeing with the historical details set out above. The letter gives an accurate description of the fabric: "where by clever smart hands portrayed twofold image of one person, ie, back and front, he misrepresents and pretends that this is the real shroud where our Savior Jesus Christ multiplied in the grave, and where the entire appearance of the Savior remains so impressed with the wounds He has. "
Although there is a statement from Bishop D'Arcis, Antipope Clement VII (the first antipope of Western Schism) did not revoke the prior permission to Lirey's church to present the object, but instructed the clergy that it should not be treated as a relic and should not be presented to the public as a shroud The true Christ, but as an image or a representation of it. He prescribes for pilgrims who come to church for devotion to "even such representations", so the cult continues.
In 1418, Humbert of Villersexel, Count de la Roche, Lord of Saint-Hippolyte-sur-Doubs, transferred the shroud to his palace in Montfort, Doubs, to provide protection against the band of criminals, after he married Charny's granddaughter Margaret. Then transferred to Saint-Hippolyte-sur-Doubs. After the death of Humbert, the Lirey canon fought through the courts to force the widow to return the cloth, but the Dole parliament and the BesanÃÆ'§on Court handed it over to the widow, who traveled by shroud to various expositions, especially in Li ¨ge and Geneva.
The widow sold the shroud in exchange for a castle in Varambon, France in 1453. The new owner, Anne of Cyprus, Duke of Savoy, kept it in the Savoyard capital, Chambé © ry, in the new building Saint-Chapelle , in which Pope Paul II soon afterwards was elevated to the dignity of the college church. In 1464, Anne's husband, Louis, Duke of Savoy agreed to pay an annual fee to Lirey canons in exchange for claims of losing their possession of the fabric. Beginning in 1471, the shroud was moved among many European cities, briefly placed in Vercelli, Turin, Ivrea, Susa, Chambecion, Avigliana, Rivoli, and Pinerolo. The explanation of the cloth by two sacristenes from Sainte-Chapelle from that period noted that it was kept in a hiding place: "covered with silk red silk, and kept in a case covered with red velvet, adorned with silver-gold nails. locked with a gold key. "
In 1543 John Calvin, in his book Treatise on Relics , wrote of the Shroud, which was then in Nice, "How is it possible that the holy historians, who carefully linked all the miracles that happened to Christ's death , should it be omitted to name one so extraordinary as the body of our Lord left in the wrapping sheet? "He also noted that, according to St. John, there is a sheet covering Jesus' body, and a separate cloth covering his head. He then stated that "either St. John is a liar," or anyone who promotes such shrouds "is punished for falsehood and lies".
16th century to present
The history of the shrouds of the mid-sixteenth century is well documented. The miniature presence by Giulio Clovio, which provides a good representation of what is seen on the shroud of 1540, asserts that the shroud that is based in Turin today is the same as it was in the mid-16th century. In 1578 the House of Savoy brought the shroud to Turin and remained in Turin Cathedral ever since.
In 1532, the shroud was damaged by a fire in the chapel where it was kept. A drop of molten silver from the relic produces a mark that is placed symmetrically through the folded fabric layers. Poor Clare Nuns is trying to repair this damage with patches. Some people suggest that there is also water damage due to fire fighting. However, there is some evidence that watermarks are made by condensation at the bottom of a funeral bottle where the folded shroud may be stored at some point. In 1578, the shroud arrived again at its current location in Turin. It belonged to the House of Savoy until 1983, when given to the Holy See, the power of the House of Savoy had expired in 1946.
In 1988, the Holy See approved the date of radiocarbon relics, a fraction of which the shroud was removed, divided, and sent to the laboratory. (More on the test seen below.) Other fires, possibly caused by arson, threatened the shroud on April 11, 1997, but firefighter Mario Trematore was able to remove it from its highly protected shelter and prevent further damage. In 2002, the Holy See returned the shroud. Backing cloth and thirty patches removed. It is possible to photograph and scan the back side of the fabric, which has been hidden from view. Using sophisticated mathematical and optical techniques, a ghost-shaped body image was found on the back of the shroud in 2004. Italian scientists have uncovered the faint traces of the face and hands of the figure. The most recent public exhibition of the Shroud was in 2000 for the Great Jubileum and in 2010. The next scheduled exhibition is in 2015.
Detailed comments about this operation are published by various Shroud researchers. In 2003, the main start of Mechthild Flury-Lemberg, a textile expert from Switzerland, published a book entitled Sindone 2002: L'intervento conservativo - Preservation - Conservierung (ISBNÃ, 88-88441-08 -5 ). He explained the operation and the reasons it deems necessary. In 2005, William Meacham, an archaeologist who has studied the Shroud since 1981, published the book The Rape of Turin Shroud (ISBNÃ, 1-4116-5769-1) that was critical of the operation. He rejected the reason given by Flury-Lemberg and explained in detail what he called "disasters for the scientific study of relics".
Historical attributes
Christian iconsography
Art historian W.S.A. Dale proposed that the Shroud was an icon made for the use of the liturgy, and suggested the date of the 11th century based on art-historical basics.
Proportion analysis
The men in the picture are higher than the average first-century inhabitants of Judea and the right hand has longer fingers than the left, along with a significant increase in length in the right arm compared to the left.
Analysis of optical perspective
Further evidence for the Shroud as an art object comes from what might be called the "Mercator projection" argument. The two-dimensional shroud presents a three-dimensional image projected onto the planar surface (two dimensions), as in a photograph or painting. This perspective is consistent with the painting and with image formation using bass help.
Diverse image
The appeal of the Shroud is the background noise, which causes us to see skinny faces, long noses, deep eyes, and straight hair. These features are caused by dark vertical and horizontal bands that cross the eye. Using enhanced software (Fast Fourier Transform filters), the effects of these bands can be minimized. The result is a more detailed picture of the shroud.
Funeral post
The burial posture of the shroud, with arms crossed over the pelvis, was used by Essenes (2nd century BC to the 1st century AD), but also found on burial sites under medieval churches with skeletons dated pre-1390 and post Romance.
Leonardo da Vinci
In June 2009, British television channel Channel 5 aired a documentary claiming the shroud was forged by Leonardo da Vinci.
Recently a study stated that the Turin shroud was faked by Leonardo da Vinci. According to research, Renaissance artists create artifacts using pioneering photography techniques and sculptures of his own head - in fact, it shows images on relics are Leonardo's face that can be projected onto fabric, The Daily Telegraph reported. article
History of Today
In an article published by The History of Today in November 2014, English scholar Charles Freeman analyzed the early depictions and descriptions of the Shroud and argued that the iconography of blood stains and scourge signs were all unknown before 1300 and the Shroud is a linen painted on that date, with paint that has been crushed leaving a linen image that changes color underneath. He also argues that woven dimensions and formats are typical of the medieval pedal looms. Since it is unlikely that counterfeiters will deceive anyone with a single cloth with a picture on it, Freeman looks for an alternative function. He goes on to argue that the Shroud is a medieval prop used in the Easter ritual drama that portrays the resurrection of Christ. He believes it is used in ceremonies called 'Quem Quaeritis?' or 'who are you looking for?' which involves re-enacting the Gospel accounts of the resurrection, and being represented as such in the famous Lirey pilgrim badge. Because it deserves to be the object of worship of the fourteenth century as it is today.
References
Source of the article : Wikipedia
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