Incarnated Logos - Shroud of Turin is Authentic

[@GioRejoemilia-s7t]

უფალი დალოცე ჩემი საქართველო თავის ლამაზი და წესიერი ერით⛪🍷🇬🇪♥️

[@nonagudushauri7421]

👍

[@christian78478]

Shroud of Turin ______________________________________ the so-called Shroud of Turin is a human-sized canvas preserved in the Roman Catholic Church, in Turin, Italy, which depicts faint front and back views of a crucified, scourged, and tortured man. Shroud is the most studied artifact in the world. Hundreds of scientific publications have been written about it and dozens of books by scientists have been published. Traditionally, the world church has always believed that this is the same Shroud, which, as mentioned in the Gospel, was used in the burial of the Lord Jesus. The church claims that the canvas depicts the tortured body of Jesus, which was reflected on the canvas at the moment of resurrection. Until 1988, the religious community of the Shroud did not doubt its religious origin, and skeptics did not have tangible evidence of the Shroud's inauthenticity until this year. However, this all turned around in 1988, when three different prestigious laboratories of the Turin shroud sample were subjected to a carbon-14 test, which determined the age of the canvas to be 1260-1390 - with 95% accuracy. So, we have two mutually exclusive hypotheses: 1. The Shroud of Turin is the burial cloth of the crucified and suffered Jesus Christ, on which his image was transferred during the resurrection of Jesus. 2. The Shroud of Turin is a work done by a medieval artist. Let's use logical tools (abductor logic) to try to find the most rational explanation for the emergence of the image reflected on the Shroud. It should be noted that the results of the carbon-14 testing were spread by the mass media with amazing zeal and speed, and the story of the inauthenticity of the legendary Turin Shroud spread around the world. The atheist community rejoiced. The community of believers seemed to be in a state of shock. Let's write down the facts: ● There is a painting in Hungary depicting the scene of the burial of Jesus Christ with Shroud, dated 1195 (70-200 years earlier than the carbon-14 test results for Shroud). This painting shows components that are only found on the Shroud of Turin, namely: (1) Jesus is depicted naked in the painting, as well as in the Shroud (nowhere else, in any work of art, is Jesus naked for obvious reasons); (2) the hands are crossed in the same way on the painting preserved in Hungary as on the Shroud of Turin; (3) on the painting preserved in Hungary, just like on the Shroud of Turin, only four fingers of the hand are drawn (the thumb is not visible); (4) the underside of the painting preserved in Ungetsh shows a rare mosaic-style weaving image unique to the Shroud style of weaving; Why should someone depict the manner of knitting in a painting? Moreover, the weaving style characteristic of the Turin Shroud? (5) The drawing clearly shows the burn holes characteristic only of the Turin Shroud in the exact places and in the exact order as on the Turin Shroud. There is no load on these fire-damaged places! how did it happen? (See John C. Iannone, The Mystery of the Shroud of Turin: New Scientific Evidence (Staten Island, NY: Alba House, 1998), 154‐155; Ian Wilson and Barry Schwortz, The Turin Shroud: The Illustrated Evidence (New York: Barnes and Noble, Inc., 2000), 24, 115‐116, 152.) Why is there a trace of the presence of the Shroud on the 12th century painting, which was not created at that time? Was an artist the prophet? Is it reasonable to assume that the painting preserved in Hungary in 1195 was redrawn by the so-called From the depiction of the Shroud of Turin? Is it not rational to assume that the probability of such coincidences is unrealistic? Is it reasonable to think that inaccuracy has crept into the carbon test? ● Before the carbon study was carried out, Turin Shroud expert and archaeology professor William Meacham wrote the following: "I see a completely unhealthy and dogmatic consensus forming about the carbon-14 test, as if this particular carbon test would once and for all establish the age of the Shroud. This attitude is contrary to geologists and archaeologists's views, because the probability of contamination on such artifacts is very high, because we know for sure that the pilgrims touched it with their hands and not only with their hands" (see: Radiocarbon Measurement and the Age of the Turin Shroud: Possibilities and Uncertainties - by William Meacham - Archaeologist; From the Proceedings of the Symposium "Turin Shroud - Image of Christ?" Hong Kong March 1986) ● In general, carbon-14 tests are often characterized by unstable results. For example, the sink test of a live snail showed us 26,000 years, and the test of a freshly killed sea lion showed an age of 1,300 years. I will not continue with the many other mistakes that are common and familiar to professionals. By establishing these facts, I am only trying to say that dogmatic attitude towards carbon-14 testing is completely unprofessional. (See: Mark Antonacci, The Resurrection of the Shroud (New York: M. Evans and Company, Inc., 2000), 157) ● For the 1988 testing, the test sample was taken from the upper high corner (and all three laboratories tested from this sample). This is the corner that was most likely to be contaminated, as it was naturally touched by the hand when folding the canvas in the middle. They also touched it with their hands when the clerics spread it at different times and presented it to the pilgrims. Such a thing happened at least several hundred times throughout history (see: The TurinShroud: The Illustrated Evidence (New York: Barnes and Noble, Inc., 2000), 100) ● In 1982, another unauthorized carbon study was conducted at the University of California. As a result, one part of the sample showed 200 AD. And the second part 1000 AD (see: Remi Van Haelst, "Radiocarbon Dating the Shroud of Turin - The Nature Report) which was explained by the high rate of contamination.

[@christian78478]

● In preparation for the radiocarbon testing of the Turin Shroud, the British Museum set aside three test samples to verify the accuracy of the new testing technology used in testing the Turin Shroud. As a result, 41% of test results (between 7 and 17 tests) were found to have significant inaccuracies. The error was 50% or more. In two cases, the delay was neither more nor less than 1000 years. Based on the above, the report written by the British Museum was quite critical of the new carbon method used to test the Shroud (see: Mark Antonacci, Test the Shroud (n.p.: Forefront Publishing Co.: 2015), 298-299) ● Before the testing, at the last minute, the decision was changed and it was decided to conduct the testing in three laboratories instead of seven. All laboratories protested this fact with a petition (including the newly selected laboratories). The petition reads: "We would be an irresponsible organization if we did not state loudly that such a fundamental change in testing methodology could become a prerequisite for error" (see: Mark Antonacci, The Resurrection of the Shroud (New York: M. Evans and Company, Inc., 2000) , 178-179) ● A leading carbon-14 expert expressed deep skepticism about the new carbon testing method before the test (see: J. Raloff, “Controversy Builds as Shroud Tests Near,” Science News, 133) ● At an international symposium in Paris a year after the 1988 carbon testing, almost all scientists working on the Shroud unanimously expressed their distrust of the 1988 carbon testing due to methodological irregularities (see: Shroud Dating Still Questioned - MATEC Web of Conferences) ● The methodology provided for taking samples from three different places in the Shroud, and as happened in the case of reducing the number of laboratories, here too, at the last minute, instead of three, a test sample was taken from one place and then cut into three parts, but it should have been the other way around. ● The upper corner from which the test was taken is most likely reconstructed, as the manner of weaving is radically different from the rest of the weaving, as confirmed by weaving experts (see: Evidence for the Skewing of The C-14 Dating of the Shroud of Turin Die to Repairs) . ● Professor Raymond Rogers, an agnostic chemist from the legendary Shroud of Turin research group, compared the test sample with the other fabrics of the Shroud and found that only the test sample contained cotton fabric, while the other parts of the Shroud of Turin did not contain cotton fabric. He noted: "The sample taken from this part of the Shroud is invalid for carbon testing, as it clearly shows traces of textile reconstruction and painting typical of the Middle Ages." (see: Studies on the radiocarbon sample from the shroud of Turin - Raymond N. Rogers - Collegamento pro Sindone) ● In 2015, a scientific conference was held at the University of Padua, where the new results of the Turin Shroud age testing were announced. Five more universities participated in the test (Bologna, Moderna, Parma, Udine and the Polytechnic University of Bari) (see: Introductory Paper: Scientific Results on the Turin Shroud Coming from a Paduan University Research Project). The following statement was made about the results: "After significant doubt was cast on the reliability of the 1988 carbon-14 testing (due to suspected contamination), tests of alternative, chemical and mechanical methodologies to date the canvas were conducted and it was determined that the so-called The age of the Shroud of Turin largely coincides with the period of Jesus Christ's life in Palestine" (see: Giulio Fanti and Pierandrea Malfi, The Shroud of Turin: First Century After Christ!) ● In 2022, another study was conducted to determine the age of Shroud, according to which his age was determined to be 2000 years. In 2022, Italian researchers used a new X-ray technique and found that the Shroud of Turin dates back to the time of Jesus Christ - the first century AD. Scientists at the Institute of Crystallography of the National Research Council (Consiglio Nazionale delle Ricerche, CNR) studied eight tiny tissue samples from the Shroud using a method called wide-angle X-ray scattering (aka WAXS). They were able to age the cellulose of flax - long chains of sugar molecules that slowly break down over time - to show that the Shroud is 2,000 years old, based on the conditions in which it was stored. They concluded that the Shroud was stored at 22.5 degrees Celsius and 55 percent relative humidity for the first 13 centuries before it was brought to Chambery, France in the 1350s; Had it been stored at a different temperature and relative humidity, the aging of flax cellulose and the resulting dating would have been different. "The data profiles were fully consistent with similar measurements obtained on a linen sample dated by historical records to AD 55-74 found in Masada, Israel," according to the study in the journal Heritage. Samples were also compared to similar linens from the 13th and 14th centuries, but none matched. Dr. Liberato de Caro, one of the scientists involved in the study, rejected a 1988 test that concluded the shroud was likely a medieval forgery and only seven centuries old. This was an inaccurate conclusion. He added: “Unless the sample cleaning procedure is done thoroughly, carbon-14 dating is not reliable. We seem to have had such a case in 1988, which was confirmed by experimental evidence showing that as you move from the periphery to the center of the piece, along the longest side, there is a significant increase in carbon-14. The 2022 study also notes: "If the current result was consistent with the 1988 radiocarbon test results, then the Shroud of Turin would have had to have been stored during its seven centuries of existence at secular room temperatures very close to the maximum values ​​recorded on Earth" (that is, if the Shroud of Turin was indeed only 7 centuries, then such a result that it is 2000 years old, the X-ray study would show only in the event that Shroud was stored for 7 centuries in the Sahara desert or somewhere in the hottest countries of North Africa, which in fact we know it was not and it was stored in Europe. (see: X-ray Dating of a Turin Shroud's linen Sample - MDPI)

[@christian78478]

● Renowned criminologist and botanist and plant pollination expert, Professor Max Frey, studied the natural pollination particles on the Shroud. This type of research allows us to follow with high precision all the locations where the Shroud "traveled" over the centuries. Professor Frey found traces of pollination of 58 different plant species. As expected, we have traces of the plant in the fauna of France and Italy (The Shroud was kept in France in the Middle Ages). However, to many people's surprise, 45 out of 58 (78%) plant species have traces of pollination beyond Europe! It was found on the Shroud from the fauna of Turkey, namely from the area of ​​the city of Uefa (ancient Edessa, where legend tells us that "the hand-made image of Jesus was kept"). ● The most important discovery is that 72% of all plant pollination points to the same location - Jerusalem and its surroundings! (See: W. Bulst, “The Pollen Grains on the Shroud of Turin,” Shroud Spectrum International 10 (March, 1984)) I would like to draw your attention to the pollen of one of the plants - Gundelia Tournefortii. This is a rare plant whose flower looks quite depressing because it has long, sharp and pointed tendrils. (See Ian Wilson and Barry Schwortz, The Turin Shroud: The Illustrated Evidence (New York: Barnes and Noble, Inc., 2000), 90) Professor Uri Baruch, who is a palynologist (the branch of the science about a plant pollination) and a well-known specialist in Jewish flora (he defended his doctorate on the flora of Israel) reveals to us: Gundelia tournefortii is extremely rare not only in other geographical areas, but even in Israel (see: Avinoam Danin (citing Dr. Uri Baruch, palynologist with Israel Antiquities Authority), "The Origin of the Shroud of Turin from the Near East as Evidenced By Plant Images and By Pollen Grains.) Nevertheless, pollen of this plant was found among them on the Shroud of Turin! It is important to note that the transfer of pollen of this plant from one place to another is carried out only by insects and not by wind. Therefore, we can assume that the famous crown that was placed on the head of Jesus was spun from this plant because dust particles of this plant were found in the vicinity of the image of the Shroud. (See: Avinoam Danin, "The Origin of the Shroud of Turin from the Near East as Evidenced By Plant Images and By Pollen Grains," - Shroud of Turin Website; XVI International Botanical Congress. ʺBotanical Evidence Indicates ʺShroud Of Turinʺ Originated In Jerusalem Area Before 8th Century.ʺ ScienceDaily, 3 August) ● In addition, we have independent evidence that Gundelia tournefortii is the very plant that was placed on the head of Jesus as a crown. As you know, we know from the Gospels that there was another veil that was covered over the face of Jesus after his death, later this veil was removed from the face of the buried Jesus (John 20:7). Fortunately, this canvas still exists today and is preserved in Spain, namely in the city of Oviedo. (See: Mark Antonacci, Test the Shroud (n.p.: Forefront Publishing Co.: 2015), 358‐359.) Naturally, there is no image on it, because it did not cover Jesus when he rose from the dead, although there are traces of blood on it! (see: Mark Guscin, "The Sudarium of Oviedo: Its History and Relationship to the Shroud of Turin, Shroud of Turin Website) The striking coincidences on the Shroud and the face cloth prove that both were applied to the same human body. Let's see what coincidences we are talking about: 1. Amazingly, Gundelia Tournefortii pollen was found on both the Shroud and "face cloth". 2. Blood types (AB) match each other. The chance of this coincidence is 1/1000 (see: Ian Wilson and Barry Schwortz, The Turin Shroud: The Illustrated Evidence (New York: Barnes and Noble, Inc., 2000), 76-79). 3. Professor Alan Wangler conducted the so-called Polarized image coincidence analysis, which revealed the number of coincidences between the Shroud of Turin and Shroud blood locations (see: Mark Guscin, “The Sudarium of Oviedo: Its History and Relationship to the Shroud of Turin,” - Shroud of Turin Website) 4. Researchers from the University of Oviedo and the Spanish Center of Sindocógio conducted an X-ray study that revealed traces of the exact type of mud contamination on the face cloth and in the exact location (nose) where the same mud composition was also found on the Turin Shroud. The composition of the mud also matches the geological composition near Calvary. Scholars suggest that Jesus was dragged on the horizontal part of the cross on Golgotha ​​and he fell on his face and injured his nose (this is clearly visible in the image of the Shroud). It was from the nose that the dispersion of the same mud composition took place on both the Shroud and the face cloth. ● Despite the fact that the Shroud of Turin is the most studied artifact in the world, even in the 21st century it is not possible to create an approximate copy of it. To the natural eye, the human image on the Shroud is blurred. It wasn't until 1898 that anyone saw what we were able to see after photographer Secondo Pia took the first photograph of the Shroud. The most interesting thing happened next: as the Shroud historian Ian Wilson tells us: "When Secondo Pia revealed his negative he was in a state of shock. Instead of a hard-to-read negative (as is usually the case), he had a sharp image positive in his hand. It defied physics. It was a miracle." (See: Ian Wilson and Barry Schwortz, The Turin Shroud: The Illustrated Evidence (New York: Barnes and Noble, Inc., 2000);

[@christian78478]

Children of the digital world may have a hard time understanding the photographer's shock because we no longer expose tapes today. Digital progress has left this technology in the past. Therefore, let's briefly explain: after taking a picture, the so-called image of the picture is recorded on the tape. negative. If we look at this negative, the resolution of the image is blurry. In the exposure room, the said negative is returned to the positive and the image is captured on the photograph. In the case of the Shroud, the opposite happened and is happening. what does that mean? This means that the image of the Shroud is already in the negative. Taking the picture made him positive, so to speak. It was as if someone from within took a picture of this man's image and it was transferred to the canvas like a tape and turned into a revealing tape. how did this happen Did we invent photography only at the beginning of the 19th century? How did someone manage to create a photo negative on canvas? And why didn't the introduction of this technology continue? Why can't we replicate it in the 21st century? Suppose someone managed to create a photo effect in the Middle Ages, how did they monitor the image? The creator of the image should have had a positive with him?! It should be noted that archaeologists have found a considerable number of burial cloths and there is no image on any of them. ● No work of art in history has been protected with such accuracy. On the Shroud of Turin, details of fantastic physiological and anatomical accuracy are preserved, even with photo effects. how? No one knows! (See: John H. Heller, Report on the Shroud of Turin (Boston: Houghton Mifflin, 1983). ● The results of the suffering of the man depicted on the Shroud fully match the details of the martyrdom of Jesus Christ in the Gospels, including the after-death effects, such as bleeding during the suffering. As we mentioned above, the blood on the Shroud is human and it was found to be AB group (IV group). Only 3% of the world's population has blood of this type, and for some reason Jews are the exception (19%) (see: Ian Wilson and Barry Schwortz, The Turin Shroud: The Illustrated Evidence (New York: Barnes and Noble, Inc., 2000). ● The image of the man depicted on the Shroud has a Jewish appearance and his hair is tied in the same manner as the Jews of the first century. (See: Mark Antonacci, The Resurrection of the Shroud (New York: M. Evans and Company, Inc., 2000). ● The scientists microscopically examined the incisions in the image and found that each incision has a detailed depressed center with raised peripheries that are only visible under a microscope. How someone with a microscope managed to give all the cuts such a shape remains a mystery. The scientists took a picture of the blood sections, exposed them to ultraviolet light, and found traces of blood clots characteristic of previously invisible sections. (See: Miller and S. F. Pellicori, “Ultraviolet Fluorescent Photography,” Shroud Spectrum International) These two details are invisible to the naked eye and it is impossible to control its forgery. ● Sandia laboratory physicists, professors John Jackson and Bill Motern, decided to use the Shroud image as the so-called Tested with VP-8 analyzer. The surface of the planets of the solar system is studied with the VP-8 analyzer. This instrument can provide a three-dimensional picture of the planet's surface because it measures the difference between the elevations and depressions and thus produces a 3-D image. Ordinary photographs when passed through the VP-8 analyzer do not give any effect, but when the image of the Shroud was studied with this device, the scientists were amazed. The image of the Shroud gave us a natural three-dimensional image. (See: Ian Wilson and Barry Schwortz, The Turin Shroud: The Illustrated Evidence (New York: Barnes and Noble, Inc., 2000), 36) How is it possible for a two-dimensional (flat) image to store three-dimensional information? The physicist recalls: "This result has never been observed in any other image that we have ever studied, nor have I ever heard of this effect being produced on any type of image. Only the image of the Crucified Man on the Shroud of Turin was able to do this." (See: Peter M. Schumacher, “PhotogrammetricResponses From The Shroud of Turin,” 1999) Professor Schumacher adds: "It is puzzling how a medieval artist was able to create a three-dimensional photographic effect. It is impossible for him to have known that he was creating this effect, because there was no way to verify it. Also, why do we not have other such artefacts preserved? Why did the artist create only one such copy and why was the technology of this art lost?" "There is no any other image like this in the world." (See: Peter M. Schumacher, “PhotogrammetricResponses From The Shroud of Turin,” 1999) It should be noted that the three-dimensional effect is provided by both front and back images. In 2006, Prof. Petrus Sunamo and Bernardo Germarini, in collaboration with the Dutch Holographic Laboratory, managed to create a 3-D hologram of the image of the Shroud. (See: Conversion 2D to 3D - Shroud Of Turin Holograms - shroudhologram.com) ● Amazingly, no substance known to mankind was used in the creation of the image of the Shroud of Turin (see: Mark Antonacci, The Resurrection of the Shroud (New York: M. Evans and Company, Inc., 2000);

[@christian78478]

● It is also interesting that the image of the Shroud is very superficial. As you know, the Shroud is sewn with linen thread. Each thread of flax is made up of many fibers that cannot be seen under a microscope. (See: Mark Antonacci, The Resurrection of the Shroud (New York: M. Evans and Company, Inc., 2000). Each fiber is 10-20 times thinner than a human hair (see: Petrus Soons, “Image Qualities of the Shroud of Turin,” Shroud of Turin 3D Holographic Research) What is surprising is that the image does not enter the depths of the Shroud two threads deep (see: Mark Antonacci, The Resurrection of the Shroud (New York: M. Evans and Company, Inc., 2000). How is it possible to create an image so precise, so refined, and so microscopically thin? ● The image is designed so that some parts of the man's body do not touch the canvas when creating this image (read again). Nevertheless, the penetration of the image is of equal depth everywhere on the Shroud... (See: Mark Antonacci, The Resurrection of the Shroud (New York: M. Evans and Company, Inc., 2000); How is it possible to create an image of the body without the body touching the canvas? ● There is a large amount of bilirubin in the blood imprinted on the Shroud. When the body undergoes a traumatic shock, red blood cells are destroyed in the body so that hemoglobin is released in the process. As a result, after such blood passes through the liver, the blood cells combine with bilirubin. It is necessary to mention this physiological process because if there is a large amount of bilirubin in the blood, it is an unmistakable fact that the person who owns this blood is experiencing great physical suffering, which makes it beyond doubt that the blood that is on the Shroud is that of a person who has been physically tortured a lot (see: William Meacham, “The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology,” Current Anthropology) ● It should be noted that venous blood and arterial blood are physiologically localized on the Shroud with surprising accuracy. We did not know anything about such physiological precision until 1593 (see: John C. Iannone, The Mystery of the Shroud of Turin: New Scientific Evidence (New York: Alba House, 1998). How did a 13th century artist know this? Blood streams show the body being in different positions at different times (see: Mark Antonacci, Test the Shroud (n.p.: Forefront Publishing Co.: 2015), 22-25; 31-33,38-39, 252-255;) Can you imagine how the "forger"'s unimaginable efforts to accomplish this? If anyone did this, that is supernatural itself. What can we say about all this? In my opinion, everything is as clear as a day! For an unbiased, open-minded person, the statement of the above-mentioned facts should be quite simple in order to see the rationality of the Christian faith. ● Professor Giovanni Judica-Cordiglia a shroud of turine scholar used his experience as a doctor in University professor of forensic medicine to interpret the data collected from the Shroud. he wrote: the man who was wrapped in the Shroud was a man of great Beauty and uncommon stature. He was about 1 M and 80 cm tall with a perfectly proportioned physique, lithe and harmonious. He was a standard type in the most literal sense of the phrase, although the cloth has suffered much damage we can see that his face was very soft and gentle rather long with a broad straight forehead. the nose is straight and turned slightly downwards. the cheeks are large and slightly protruding. From all the anthropometric calculations so far made, it seems that Christ was physically in far better shape than the average man, through a complicated process of elaborating his facial data, I can conclude that his cranial capacity was 1575 CC, which would Place him in the megalocephalic (Large-headed) category with a cranial capacity coefficient of 95 indicating that the weight of his brain was 1,492 Grams. this is far greater than average suggesting a person of extraordinary genius. Authors: George Razmadze; Translation from Georgian to English: Tornike Pkhaladze;

[@christian78478]

ტურინის სუდარა _________________________________________ ე.წ. ტურინის სუდარა არის რომის კათოლიკურ ეკლესიაში, კერძოდ იტალიის ქალაქ ტურინში დაცული/შენახული ადამიანის ზომის ტილო, რომელზეც ჯვარცმული, გამათრახებული და ნაწამები კაცის წინა და უკანა ხედების მკრთალი ხატებაა გამოსახული. სუდარა გახლავთ ყველაზე დაწვრილებით შესწავლილი არტეფაქტი მსოფლიოში. მის შესახებ ასეულობით სამეცნიერო პუბლიკაცია დაიწერა და ათეულობით მეცნიერის წიგნი იქნა გამოცემული. ტრადიციულად, მსოფლიო ეკლესიას ყოველთვის სწამდა, რომ ეს არის სწორედ ის სუდარა, რომელიც, როგორც სახარებაშია ნახსენები, უფალ იესოს დამარხვისას იქნა გამოყენებული. ეკლესია ამტკიცებს, რომ ტილოზე გამოსახულია ნაწამები იესოს სხეული რომელიც მკვდრეთით აღდგომის მომენტში ტილოზე აისახა. 1988 წლამდე ტილოს რელიგიური წარმომავლობის შესახებ მორწმუთა საზოგადოებას ეჭვი არ შეუტანია, სკეპტიკოსებს კი ამ წლამდე არ ჰქონიათ სუდარის არაავთენტურობის ხელჩასაჭიდი მტკიცებულება, თუმცა ეს ყველაფერი შემოტრიალდა სწორედ 1988 წელს, როდესაც სამ სხვადასხვა პრესტიჟულ ლაბორატორიაში ტურინის სუდარის ნიმუშს ნახშირბად-14-ის ტესტი ჩაუტარდა, რომელმაც დაადგინა ტილოს წლოვანება 1260- 1390 წწ. 95%-იანი სიზუსტით. მაშ ასე, გვაქვს ორი ურთიერთგამომრიცხავი ჰიპოთეზა: 1. ტურინის სუდარა ჯვარცმული, გამათრახებული და ტანჯული იესო ქრისტეს დასაფლავების ტილოა, რომელზეც იესოს აღდგომისას გადავიდა მისი გამოსახულება. 2. ტურინის სუდარა არის შუა საუკუნეების არტისტის მიერ შესრულებული ნაწარმოები. მოდით ლოგიკური ინსტრუმენტების გამოყენებით (აბდუქციორი ლოგიკით) ვცადოთ ყველაზე რაციონალური ახსნა მოვუძებნოთ სუდარაზე ასახული გამოსახულების წამომავლობას. აღსანიშნავია, რომ საოცარი მონდომებითა და სისწრაფით გააპიარა მას-მედიამ ნახშირბად -14-ის ტესტირების შედეგები და ლეგენდარული ტურინის სუდარის არაავთენტურობის ისტორია მოედო მთელს მსოფლიოს. გაიხარა ათეისტთა საზოგადოებამ. მორწმუნეთა საზოგადოებას კი შოკისმაგვარი მდგომარეობა ეტყობოდა. ჩამოვწეროთ ფაქტები: ● უნგრეთში არსებობს ნახატი რომელზეც გამოსახულია იესო ქრისტეს სუდარით დამარხვის სცენა, რომელიც დათარიღებულია 1195 წლით (70-200 წლით ადრინდელია ვიდრე ნახშირბად-14-ის ტესტის შედეგები სუდარის მიმართ). ამ ნახატზე გამოსახულია ისეთი კომპონენტები, რომლებიც მხოლოდ ტურინის სუდარაზე გვხვდება, კერძოდ: (1) ნახატზე, ისევე, როგორც სუდარაზე იესო გამოსახულია შიშვლად (მეტი არსად, არცერთ ხელოვნების ნიმუშზე იესო შიშვლად არ არის გამოსახული გასაგები მიზეზების გამო); (2) ხელები უნგრეთში შენახულ ნახატზე ისევე, როგორც ტურინის სუდარაზე ერთნაირად არის გადაჯვარედინებული; (3) უნგრეთში შემონახულ ნახატზე ისევე, როგორც ტურინის სუდარაზე, ხელის მხოლოდ ოთხი თითია დახატული (ცერა თითი არ ჩანს); (4) უნგეთშში შემონახული ნახატის ქვემოთა მხარეს გამოსახულია იშვიათი, მხოლოდ სუდარის ქსოვის მანერისთვის დამახასიათებელი მოზაიკური სტილის ქსოვის გამოსახულება; ნახატზე რატომ უნდა ასახოს ვინმემ ქსოვის მანერა? მითუმეტეს მაინც და მაინც ტურინის სუდარისთვის დამახასიათებელი ქსოვის მანერა? (5) ნახატი აშკარად ასახავს მხოლოდ ტურინის სუდარისთვის დამახასიათებელ დამწვრობის ხვრელებს ზუსტად იმ ადგილებში და ზუსტად ისეთი თანამიმდევრობით როგორც ტურინის სუდარაზეა. არანაირი დატვირთვა ამ ცეცხლით დაზიანებულ ადგილებს არ აქვს! როგორ? დაემთხვა? (იხ. John C. Iannone, The Mystery of the Shroud of Turin: New Scientific Evidence (Staten Island, NY: Alba House, 1998), 154‐155; Ian Wilson and Barry Schwortz, The Turin Shroud: The Illustrated Evidence (New York: Barnes and Noble, Inc., 2000), 24, 115‐116, 152.) რატომ არის დახატული მე-12 საუკუნის ნახატზე იმ სუდარის დამწრობის კვალი, რომელიც ჯერ თურმე იმ დროისთვის არ იყო შექმნილი? წინასწარმეტყველი იყო მხატვარი?