Debunking: Afrocentrist Theories on the Hebrews and Jesus Part 2

Welcome back, as this is part 2 I figure we’ll just dive right in and begin, picking up where we left off and exposing some of the historical misidentifications that have taken place in Afrocentrist historiography.  So here, again, is the site.  Now the following pictures are used to depict various scenes from the Hebrew bible that show what the other site’s author has declared to be proof of the “blackness” of the ancient Hebrews.  However, it appears that the author of said site didn’t have a very good grasp of art history, so lets begin.

That is one image of the Dura-Europos synagogue painting, tis true, here is another: 

Notice that the cleaner image more closely resembles Iranian/South Asian art than African or Roman art.  This is a theme that repeats throughout the synagogue.  As you can see:

(Consecrating the Tabernacle – Dura-Europos Synagogue, Tempera over plaster, 245 AD)

The style of this tempera, is not at all Greek, but it doesn’t resemble African style art at all.  If we examine the figures closely though – the clothing, the hair, the shoes all resembles Iranian period clothing.  The high priest looks more like a Zoasterian priest more than the Hebrew version, though some identifing features of Judaism still remain, chief being the menorah.

(Drawing Moses from the Water – Dura-Europos Synagogue, Tempera over plaster, 245 AD)  Here the south Asian connection is clear as day.  Moses’ mother looks like a gopi (cow-herdess) and Moses looks like a baby Buddha, but why?  And why the semi-fresco style of the paintings?


Because Dura-Europa was a melting pot in the ancient world.  It was home to Persians (Iranians), Vedic travelers, Romans, Jews, Syrians, traditional desert nomads, probably some Africans, and Seleucid Greeks.  Now, the Seleucid kingdoms were Greek kingdoms founded by a general of Alexander after he finally halted his army’s advance into India.  These Greek artists brought with them their traditional art forms (Hellenistic Sculpture, Fresco painting, et cetera) to Persia (who had their own techniques) and Northwest India, where Greek sculptors were in high demand for their services.  

 – Hellenistic Buddha. File:Meister des Mahâjanaka Jâtaka 001.jpg

(Ajanta Caves wall Fresco, 200 BCE) (shown for comparison purposes).

They in turn learned the local styles, just as the locals learned the Greeks.  These sculpting techniques and painting styles interbred with each other until they formed unique regional styles.  Now take a place like Dura-Europa where artist A is painting the Crossing of the Red Sea, and where artist B is painting Moses being drawn from the River and you have artist C painting the Consecration of the Tabernacle and what do you have?  You have three different artists, producing three different works, that will not resemble one another at all.  Moreover, the figures in each painting will resemble those figures the artist is most used to painting, and not necessarily what the figure actually looked like, because most ancient societies (excepting the Romans) were unconcerned with actual human appearance (see archaic art) but with the representation of humanity.

Cornrows?  Really?  So curly hair in paintings, sculpture or artwork means black automatically?  I suppose the author of this page has never seen a curly hair Italian, Greek, or Jewish man then?  

In all fairness, Justinian II could be modeling Jesus Christ on : 

(John Turturro)

as much as on a black man.  Never mind, of course that pre-Industrial minting of coins wasn’t exactly known for its accurate representations either.

There there is this gem: 

This might seem a good example, if one didn’t know that medieval pigments wash out and darken over the years, mainly due to the fact that they are largely organic and not synthetic.  But hey, whats art history for anyway?  ^_^


The modern country of Georgia in the Caucasus region of the former Soviet Union (The place where European Albinos tell themselves and the world that they are from – they call themselves Caucasians): is the location of one of the oldest Black kingdoms in Europe – Colchis.

According to Greek mythology, Colchis was a fabulously wealthy land situated on the mysterious periphery of the heroic world. Here in the sacred grove of the war god Ares, King Aeëtes hung the Golden Fleece until it was seized by Jason and the Argonauts. Colchis was also the land where the mythological Prometheus was punished by being chained to a mountain while an eagle ate at his liver, for revealing to humanity the secret of fire. The Amazons also were said to be from Colchis. The main mythical characters from Colchis are Aeëtes, Medea, Absyrtus, Chalciope, Circe, Eidyia, Pasiphaë.

In about 730 B.C, Colchis was overrun by the White Kurgan tribes called Cimmerians and Scythians. But they appear to have done little permanent damage. In about 600 B.C, the advanced economy of Colchis soon attracted the attention of the Milesian (White) Greeks in Anatolia (Turkey), who colonized the Colchian coast and established trading posts at Phasis, Gyenos, and Sukhumi. In about 580 B.C, the kingdom came under the control of (probably by the dating); King Astyages of the Median Empire. Which would soon become part of the first Persian Empire under Cyrus II, the Great. (The Sassanian was the second Persian Empire).


Well, much research into Colchis has been done by Georgian historians and archaeologists, and nothing from them has so far validated Herodotus’ claims, which shouldn’t be surprising to any historian, as Herodotus was often wrong, but if we are too look at his claims, well he claims that the Amazons were descended from the Colchis, and if this is true, then the Colchis more than likely resembled Central Asian peoples, as the Amazons (or Scythians as we know them better now) still have descendants on the Mongolian plains.

From here the Author of the false histories continues to play amateur art historian, doing his best to “create” the idea of a whitening of Christ sometime near the end of the 13th century.  For sake of brevity, I’ll just show my debunking images – pre-13th century “white” Christs:

(Good Shepherd, Mausoleum of Galla Placidia, Ravenna, Italy, Mosaic 425-50 CE)

Christ Pantocrator - Icon in the Monastery of St. Catherine

Christ Pantocrator, St Catherine’s Monastery, Mt Sinai, Egypt, 6th Century, Encaustic on panel,)

Finally, to save the best for last:

(Virgin and Child Enthroned Between Saints and Angels, Monastery of St Catherine, Mt Sinai, Egypt, Late 6th Century CE, Encaustic on Panel) and (Portrait of a Boy, 2nd century CE, Fayum, Egypt, Encaustic on Wood).  I like this grouping because it shows two things quite clearly: what the second century denizen of Egypt looked like, before the coming of the Arabs, and also because we see quite clearly that the notion of a “thousand year old conspiracy to deny the blackness of x, y and z” is patently false.  Encaustics are reknowned for their ability to maintain their color without fading, due to the unique method of their creation.  What you see now is what was created all those centuries ago, with nary a bit of fading.


Why, if the people of Egypt were all black, isn’t this fellow?  Perhaps because when we take off the Afrocentrist glasses we can see the world in more than just monochrome.


This has been more True History.


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