-Caveat Lector-
Begin forwarded message:
From: [EMAIL PROTECTED]
Date: March 6, 2007 1:25:36 AM PST
To: [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED], [EMAIL PROTECTED], [EMAIL PROTECTED]
Subject: The "Masonic" Symbol over the "Lost Tomb of Jesus"
http://www.jesusfamilytomb.com/ [OFFICIAL SITE]
... Upon their arrival, the first thing archaeologists Josef Gat,
Amos Kloner and Shimon Gibson noted was the strange symbol over the
door to the Jesus tomb, on the south face of the antechamber. They
had never seen another like it: a decorative V- or Y-shaped gable
or chevron over a prominent circle. It measured more than a meter
wide, a quite beautifully rendered stone relief sculpture. All
three archaeologists knew that the splendor of the façade,
especially in a tomb with no other decorative features, was
extremely rare.
Bones had been placed in the antechamber directly underneath the
chevron symbol, possibly deliberately. This too was decidedly not
typical. In ancient Jerusalem, the dead were placed inside tombs;
in tombs, the dead were placed inside ossuaries. What were human
bones doing under the symbol? Whose bones were they? Were they
connected with the unprecedented symbol over the passage into the
tomb?
...
Moving on to “like” symbols, the similarity of the chevron to the
All-Seeing Eye or Eye of Providence is striking. This places us
smack dab in The Da Vinci Code territory but is it possible that
Dan Brown had at least some of it right? It requires a flight or
two of fancy, but if we connect a few dots we can draw a line
through history from the tomb straight to today.
The link? Not Leonardo, but one of his apprentices. Supper at
Emmaus, by Jacopo Carucci da Pontormo, takes as its subject the
Risen Jesus. What is the significance of the All-Seeing Eye, so
similar to the circle within the pyramid-like chevron, hovering
over the Saviour?
If the Tomb of the Ten Ossuaries is that of Jesus and his family,
the only people who would have had that information in the first
century would have been the Judeo-Christian community of Jerusalem.
Interestingly, history tells us that the Judeo-Christians were
considered heretics because they held that Jesus was a man and not
a divinity. Generation after generation, the existence and location
of Jesus’ tomb would have been passed down. Conceivably, it could
very well have fallen into the hands of the Crusaders, the Knights
Templar, who arrived in Jerusalem as “pilgrims” in the twelfth
century.
...
With the success of the Da Vinci Code many have reclaimed an
interest in the art of Leonardo Da Vinci – and more specifically,
his painting of the “Last Supper.” However, few have garnered the
same enthusiasm for one of his students, Jacopo da Pontormo
(1494-1557), whose work Supper at Emmaus (1525) may shed even
greater light on the significance of the supposedly secret symbol
of the All-Seeing Eye.
The work itself represents the “other Last Supper” – the supper
that Jesus shares with his disciples after his resurrection, as
depicted in Luke, chapter 24. What is peculiar about the painting
is that it features a representation of the All-Seeing Eye above
Jesus’ head.
According to some art historians, the Eye was added several decades
later (after the Council of Trent), replacing Pontormo’s original
symbol of the three-faced head, which was a Christian symbol of the
Holy Trinity prior to the Counterreformation. Others say there was
originally nothing in its place, and therefore have opted to remove
it altogether from the piece.
What exactly Pontormo’s intentions were for the symbol,
unfortunately remains somewhat of a mystery.
-------------------------
"... a low door with a symbol over it -- an inverted "V" with a
circle at its base, which has been associated with early
Christianity." <A dubious claim repeated in most media-affiliated
websites>
There could be a relationship between the symbol on the facade of
the Jesus tomb and the paintings of Pontormo. Simcha Jacobovici,
maker of The Lost Tomb of Jesus, is planning to investigate the
possibilities. In this interview, he explains that Pontormo, a
student of Da Vinci, painted symbols that could be related to the
one found on the Jesus Family Tomb.
http://www.metacafe.com/watch/450262/
symbolism_in_art_clues_to_secrets_of_the_tomb/
http://www.metacafe.com/watch/450249/
the_jesus_family_tomb_the_templar_and_freemasons/
What does the mysterious symbol on the outside of the Jesus Tomb
mean? Where does it come from? Movie maker Simcha Jacobovici of The
Lost Tomb of Jesus talks about the symbol and theories that relate
it to Egypt, the All-Seeing Eye and secret societies.
http://72.14.253.104/search?q=cache:LVDBg-0amTkJ:www.metacafe.com/
tags/lost/rss.xml+lost-tomb-of-jesus
+symbol&hl=en&ct=clnk&cd=1&gl=us&ie=UTF-8
http://www.joezias.com/tomb.html [CRITICAL SITE -- A MUST-READ]
Throughout the film as well as the marketing circus, one sees
prominently on the façade of the tomb, the dot within the triangle,
minus the base as if this is some mystical Judeo-Christian symbol.
Had they simply taken the time to scan photos in the catalogue of
Jewish ossuaries by LY Rahmani, they would have seen that many
ossuaries with triangular lids have decorative elements or
functional elements serving as handgrips to raise the lid, which
resemble the ornament on the tomb façade. Thusly, the façade motif
could easily be seen in and of itself to resemble an ossuary lid
with the tomb itself serving as an ossuary. A black and white
photo of one of the ossuaries in the catalogue is reproduced for
viewers here.
Alternatively, the circular object within the triangle can be
interpreted as either a patera or a wreath, both which appear on a
number of ossuaries as well as tomb facades such as the Tomb of
‘Absalom’.
http://newsojourn.blogspot.com/
Now, there were a few things I really was interested in and wished
Simcha Jacobivici had pursued further. An example of this was the
symbol that was over the Talpiot tomb. Notice the pronounced upside
down V with the circle located underneath. Jacobivici discovered
this same symbol in a nearby burial place which was reportedly a
1st Century Christian burial ground. As a viewer this really caught
my eye and made me wonder aloud: Why would one not study this more?
What does the symbol mean? What connection would there be between
the two tombs? Are there other archeological digs which have
answered these questions or discovered other symbols like this? How
do we determine both are authentic from the first century?
Now if you are going to play Indiana Jones, these are the things to
look into.
http://benwitherington.blogspot.com/2007/02/problems-multiple-for-
jesus-tomb-theory.html
There is an interesting rosette or symbol over the Talpiot tomb,
and from the pictures in the book inside the tomb as well. This is
very interesting and it tells us one thing. This was a highly
unusual and ornamental tomb meant to be recognized by the symbol.
It is not, and indeed was not a secret tomb where a despised split
off sect of Jesus following Jews could have hidden the bodies of
Jesus or James or other family members. The ornamental decoration
is meant to attract attention and draw people to the tomb. Indeed
it is meant to distinguish the tomb from others.
This is the opposite of what we would expect if this is a pre-70
A.D. Jesus family tomb. Remember we have clear historical evidence
that Saul of Tarsus, from his own letters and from Acts was a
persecutor of Christians. By the 40s this persecution got so bad
that some Christians fled the city (see the sweep and trajectory of
the story in Act 3-9). Under no circumstances would these
beleaguered early Jewish Christians have been advertising where the
bones of Jesus laid, if they knew.
---------------
http://www.inq.pdx.edu/journal/article5.html
Figure 7. Stela with Two Architectural Frames, Three Birds, and
Floral Motif. Egypt. 500-700 AD. Metropolitan Museum of Art, New
York. 08.202.10.
The stela shown in figure 7 is similar to that seen in figure 6 in
that it also depicts three birds. In this design the roof is a flat
chevron shape without an interior and one bird is inside the house
proper, while the other two are shown above the roof. This entire
design is contained within a larger arch which contains a floral
vine motif. The vine may once again be indicative of paradise
itself. Because of the dominance of one particular bird inside the
house, it is possible that rather than being three birds together
guarding the door of paradise, the main bird may represent a
special type such as an eagle, and the other two might be part of
the paradise representation as they are surrounded with vegetation.
It is clear that while the imagery on Coptic stelae is Christian,
this imagery still retains elements of its Greco-Roman Egyptian
roots in the way architecture is used, in the similarity of themes
of hopes for the afterlife, and in the content of figures like
orans. In addition to containing the same general sorts of imagery,
specific similarities can be notes such as that between
architectural and orans figures in the Metropolitan Museum of Art
stelae and earlier Greco-Roman examples from places like
Terenouthis. The similarity in artistic production and the
possibility that the same craftsman were involved in the production
of both pagan and Christian stelae indicate a reason for this
continued connection. Similarities of ideology and use, such the
idea that stelae could have a ritual significance in insuring the
deceased a place in the afterlife, show that Coptic stelae are
firmly based on their Greco-Roman precursors in function as well as
in overall design and iconography.
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