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"It doesn't look like any known work of art," they say.The implication is that its creation was somehow miraculous, perhaps caused by a sudden burst of cosmic energy as the cloth came into contact with the dead body of Jesus.(Editor's Note: I am very pleased to make this collection of articles and letters available on this website and wish to thank the following organizations and individuals for granting permission to reprint their materials: the Biblical Archaeology Society and Bridget Young, its Executive Director, Gary Vikan, Walter C. Albert Dreisbach, Mark Guscin, Joseph Marino, Emanuela Marinelli, Gino Zaninotto, Dr. Mc Crone - Sidebar to Original Article Letters to the Editor - Reader responses published by Biblical Archaeology Review Deconstructing the "Debunking" of the Shroud by Daniel Scavone and an international group of researchers - Previously unpublished responses to the article Comments on the Radiocarbon Dating of the Turin Shroud by Dr.
The Shroud of Turin is not, by definition, a work of art but instead belongs to the long and revered tradition of sacred objects that are at once relics and icons.
Following Time's lead, we reported that although radiocarbon tests have dated the shroud to 1260-1390 A.
D., no one has been able to account for the shadowy image of a naked 6-foot-tall man that appears on the shroud.
With bloodstains on the back, wrists, feet, side and head the image appears to be that of a crucified man.
The details - the direction of the flow of blood from the wounds, the placement of the nails through the wrists rather than the palms - displays a knowledge of crucifixion that seems too accurate to have been that of a medieval artist.