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It is true that versions of the “White Christ” appear in European art as early as the 4th century of the Christian era, but these images coexisted with other, nonwhite representations throughout European history.The popularity of the cult of the Black Madonna and Black Christ throughout Europe is evidence of the fact that the European ‘White Christs’ never acquired the authority and authenticity that the White Christ now has globally.This Christ and his authority are American phenomena.As a predominantly Protestant nation Early America rejected the imaging of Christ that characterized European Catholicism.With smooth white skin, long, flowing blondish-brown hair, long beard and blue eyes, this Nordic Christ consciously disguised any hint of Jesus’s Semitic, oriental origin—and departed from the older European depictions.It both shaped and was shaped by emerging American ideas of whiteness.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.
According to Eisler’s reconstruction, the oldest non-Biblical description of Jesus read as follows: “At that time also there appeared a certain man of magic power …
Even down to the very religious writings that they claim to worship by.
That fact is that ALL Hebrew writings, even the SEPTUAGINT , which was only roughly Hebrew (it was made for the Greek King of Egypt, Ptolemy II (Philadelphus) in 282-246 B. Everything except for the "Dead Sea Scrolls" which were found in 1947, in Qumran, a village situated about twenty miles east of Jerusalem.
This globally recognizable Jesus is a totally American product. Warner Sallman’s iconic image of Jesus called Head of Christ (1941) became the most widely reproduced piece of artwork in world history and its depiction the most recognizable face of Jesus in the world.
By the 1990s it had been printed over 500 million times and achieved global iconic status.
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Blum and Paul Harvey in their book, The Color of Christ: The Son of God and the Saga of Race in America (2012).