How did the Hebrews turn White? Of course they didn't really; just in the imaginations, and then the histories of White people. Who for probably practical reasons, decided that Hebrews, and also the Blacks who originally lived in the Country's that they took over, should all become White for posterity's sake.
Seeing as how it only takes three generations to turn a Black person into a White person (and visa versa). No doubt there came a time when as Europe's formerly bi-racial populations, became more homogeneously White, White people decided that they could no longer acknowledge that all that they knew and had, was derived from the minds and labors of Black people - even down to their religious beliefs. The logic no doubt being that Whites could not progress to their full potential, if they were always looking up to Blacks, as the personification of knowledge and wisdom. So a change had to be made, and at some point, by somebody, that change began.
Of course, we have no way of knowing when this process of Whitinizing Blacks began, or who did it, or where it was first done. But we do have some materials by which we can track the process, somewhat.
But first, let us go back to see what Hebrews REALLY looked like. The earliest authentic pictures of real Hebrews that we have, date back to before Christ. They are Assyrian relief's showing Hebrews, and others that they conquered, in pictorial scenes detailing the battles fought, with associated text. These relief's decorated Assyrian palaces, and were no doubt used to gloat over their conquest of the Hebrews and others. Here we are using pictures of: Assyrian King Shalmaneser IIIs "Black Obelisk" (858 B.C.). Assyrian king Tiglath-pilesar III’s relief's of his conquest of a city near the Sea of Galilee (730 B.C.). Assyrian King Sennacherib’s relief's of the conquest of the Judean City of Lachish (701 B.C.). The four pictures below, are from those Assyrian relief's. (These relief's are stored in the British Museum, London England).
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It is worth mentioning, that the Hebrews were just as literate, and just as artistic as the other Black civilizations around them. The reason that we have to depend on outside sources for pictures of them, is because Whites destroyed all that the Hebrews ever created. Even down to the very religious writings that they claim to worship by. That fact is that ALL Hebrew writings, even the SEPTUAGINT {the original Bible}, which was only roughly Hebrew (it was made for the Greek King of Egypt, Ptolemy II (Philadelphus) in 282-246 B.C.), has been destroyed. Everything except for the "Dead Sea Scrolls" which were found in 1947, in Qumran, a village situated about twenty miles east of Jerusalem. The Scrolls are under the joint custody of the Catholic Church and the Israelis. The translated contents of those Scrolls has never been made public, and probably never will be - no doubt the differences in teachings and facts would be irreconcilable. (A few inconsequential snippets have been made public - the entire Scrolls is a huge work, which contains the entire old Testament plus many other works).
Why wasn't the material in these pages destroyed? Because after it's fall, Assyria came under the control of the Persian Empire, which was itself a Black Empire. It then came under the control of Greeks, who were at that time, seeking to merge with the Black Persians, not in denying that they were Black people. Then Assyria again came under Persian control, and then finally under the control of the original Black Arabs. So at the time when Whites were destroying vestiges of Black history, they had no access to the Assyrian artifacts.
But at those times when Whites did have control of an area, they seem to have been very through in destroying all vestiges of the former Black inhabitants; there is nothing left to suggest that Carthage was a Black city, Mesopotamia and the Indus Valley civilizations are some of the oldest known, yet very little is left - next to nothing in the Indus valley. Ancient Anatolia (Turkey), was home to many great and famous civilizations, but very little has been found there. The Egyptian artifacts, of which there are many, were mostly recovered in modern times, when Whites rather than simply destroy, instead modify artifacts; sometimes just by breaking the noses off, in order to make them look like White people, and then proudly display them as proof of the White mans greatness.
The Khazars, a Turkish tribe who had established a Kingdom in the Caucasus region, and converted to Judaism in the 8th century A.D. Must have seen the doings of the Romans and Greeks, and seen it as an opportunity for them to take over the Hebrew identity, and thus control of the orthodox branch of the Hebrew religion - which indeed they did. They logically thinking that if Jesus can be White, why not then, the entire Hebrew nation - which was by then a diaspora anyway. The Islamist side-stepped the entire issue by forbidding imagery of any kind.
Let us proceed then, with our pictorial essay of how Jesus, and thus, the Hebrews TURNED WHITE!
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The Alexamanos Graffito, dating from c.200 AD or earlier, is an interesting early parody of Christianity. This early graffito (wall-scratching; singular of graffiti) was discovered in 1857 in a guardroom on Palatine Hill near the Circus Maximus in Rome, and is now in the Palatine Antiquarian Museum. The drawing shows a man with an ass's head being crucified, to which a youth is raising his hand as if in prayer. The text in Greek reads: ALE, XAMENOS, SEBETE, THEON. which means, "Alexamenos worships his god." Before Christianity, the Hebrews had already been charged with worshipping an ass; this was probably the basis of this accusation being directed at Christianity. |
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| This wall painting, depicting the Healing of the Paralytic, is the earliest known representation of Jesus, dating from about 235 AD. The painting was found in 1921 on the left-hand wall of the baptismal chamber of the house-church at Dura-Europos on the Euphrates River in modern Syria. It is now part of the Dura Europos collection at the Yale University Gallery of Fine Arts. |
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This fresco of the Good Shepherd was found on the ceiling of the Vault of Lucina in the Catacomb of Callixtus in Rome. The construction of the vault itself has been dated to the second half of the 2nd century, but the use of the red and green lines to divide the space (similar to the chambers under San Sebastiano) has suggested the first half or middle of the 3rd century for this fresco. The image of Jesus as the Good Shepherd was an especially popular motif in the early Christian centuries. It was based on several biblical passages, including the 23rd Psalm and sayings of Jesus, and is also an adaptation of a popular pagan image. |
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This fresco of the Good Shepherd was found on the ceiling of the Vault of Lucina in the Catacomb of Callixtus in Rome. The construction of the vault itself has been dated to the second half of the 2nd century, but the use of the red and green lines to divide the space (similar to the chambers under San Sebastiano) has suggested the first half or middle of the 3rd century for this fresco. The image of Jesus as the Good Shepherd was an especially popular motif in the early Christian centuries. It was based in several biblical passages, including the 23rd Psalm and sayings of Jesus, and is also an adaptation of a popular pagan image. |
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| This fresco of Christ Among the Apostles is in an arcosolium of the Crypt of Ampliatus in the Catacombs of St. Domitilla in Rome. The Catacombs of Domitilla date from the 2nd through 4th centuries. According to W.F. Volbach, "The extent to which the type of the apostolic group as been developed suggests a 4th-century origin" for this particular fresco. |
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Christ at the Second Coming, In the center of the apse mosaic is Christ standing on red clouds (representing the dawn), dressed in golden robes labeled with the monogram I. He holds the scroll of the Law in his left hand. The basilica of Santi Cosma e Damiano is one of the ancient churches of Rome called tituli, of which cardinals are patrons as deacons: the Cardinal Deacon of the Titulus Ss. Cosmae et Damiani is Giovanni Cheli. The basilica, devoted to the two Greek brothers, doctors, martyrs and saints Cosmas and Damian, is located in the Forum of Vespasian, also known as the Forum of Peace. The Temple of Romulus was dedicated by Emperor Maxentius to his son Valerius Romulus, who died in 309 and was rendered divine honours. It is possible that the temple was in origin the temple of "Iovis Stator" or the one dedicated to Penates, and that Maxentius restored it before the re-dedication. The ancient Roman fabric was Christianized and dedicated to Sancti Cosma et Damiano in 527, when Theodoric the Great, king of the Ostrogoths, and his daughter Amalasuntha donated the library of the Forum of Peace (Bibliotheca Pacis) and a portion of the Temple of Romulus to Pope Felix IV. The pope united the two buildings to create a basilica devoted to two Greek brothers and saints, Cosmas and Damian, in contrast with the ancient pagan cult of the two brothers Castor and Pollux, who had been worshipped in the nearby Temple of Castor and Pollux. The apse was decorated with a Roman-Byzantine mosaic, representing a parousia, the Second Coming of Christ at the end of time. The bodies of Saints Mark and Marcellian were translated, perhaps in the ninth century, to this church, where they were rediscovered in 1583 during the reign of Pope Gregory XIII. In 1632, Pope Urban VIII ordered the restoration of the basilica. The works, projected by Orazio Torriani and directed by Luigi Arrigucci, raised the floor level seven metres, bringing it equal with the Campo Vaccino, thus avoiding the infiltration of water. Also, a cloister was added. The old floor of the basilica is still visible in the lower church, which is actually the lower part of the first church. In 1947, the restorations of the Imperial Forums gave a new structure to the church. The old entrance, through the Temple of Romulus, was closed, and the temple restored to its original forms; with the Pantheon, the Temple of Romulus is the best preserved pagan temple in Rome. A new entrance was opened on the opposite side (on via dei Fori Imperiali), whose arch gives access to the cloister, and through this to the side of the basilica. |
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Jesus' appearance from behind locked doors, by Duccio-di-Buoninsegna - 1308 A.D. |
| The Duccio-di-Buoninsegna above, which still has a "somewhat" Black looking Jesus, and some likewise "Black looking" Apostles, seems to mark the end of Black Jesus, and the beginnings of the total lie. No non-White depiction of Jesus is known to have been made after this time - by White people. |
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The last judgment by Pietro Cavallini - 1293 A.D. St Cecilia Trastevere, Rome. |
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Another fresco of Christ Among the Apostles is in an arcosolium of the Crypt of Ampliatus in the Catacombs of St. Domitilla in Rome. Probably from a later time than the first fresco. Is this the beginning of the Whitinization of Black People? It may be that later artists felt that since this fresco didn't cause the artist to immediately burn in Hell, it might be okay to paint Jesus as White. |
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Santa Costanza mosiac - Santa Costanza is a church in Rome, built under Emperor Constantine I and place of burial (mausoleum) of his daughters Constantina and Helena. Later, Constantina was venerated as saint, with the Italian name of Costanza, and the church was dedicated to her. The church was built under Constantine, probably by Constantinia, next to the cemetery of Sant'Agnese fuori le mura, where Saint Agnes, who allegedly had healed Constantina, was buried. After their deaths, Constantine's daughters Constantina and Helena were buried here. Since Consantina was venerated as saint, the mausoleum was consecrated as a church in 1254 by Pope Alexander IV. After the church was restored in 1620 by Cardinal Fabrizio Veralli, Constantina's magnificent porphyry sarcophagus was moved to the Vatican Museums. The Church was originally a mausoleum. |
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Dead Christ - Giovanni Bellini, 1460 A.D. Museum Poldi Pezzoli, Milan |
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The Modern Jesus |
Thanks to Religion Facts.com (Link)
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