William Henry Claims Leonardo da Vinci Painting Is "Technology" for Transdimensional Communication with Christ

:​Yesterday morning my hot water heater burst, and I had to spend most of the day dealing with the fallout and the cleanup. Worse, when the new heater was being installed, the plumber found that the pipe leading to the heater had cracked around a joint and was leaking. It was ready to burst. So, the pipe had to be replaced, too. Wasn’t that a merry Christmas present? The upshot is that I had very little time to complete work or prepare a blog post for today. So, I did what I usually do when I need a quick hit of something absolutely mind-blowingly stupid. I turned to a talking head from Ancient Aliens.
 
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Today’s bit of bizarre nonsense comes from William Henry, an Ancient Aliens pundit and all-purpose spiritual guru. On his blog, he speculated about the true motives behind a Saudi prince’s $450 million purchase of Leonardo da Vinci’s Salvator Mundi last month. Henry wondered why a Muslim would purchase a work of art featuring Christ, seen as a prophet in Islam, when Islam eschews iconic depictions of prophets. He also drew attention to the fact that the painting would soon be placed in Abu Dhabi’s newly opened Louvre Museum, a partnership with the French government, because the museum is shaped like a flattened dome, which Henry believes means that it represents a flying saucer. Officially, it is meant to recall Islamic architecture, the starry sky, and a canopy of palm fronds through which sunlight filters.
 
Anyway, Henry has some choice words about the painting, which he feels is secret technology:

My theory is that there is something supernaturally powerful about “Salvator Mundi.” This is affirmed by the price tag, but also about the potential that the painting itself, inherently contains power. I have proposed it is an icon, which, in Christian art terms, means it is a portal, a sacred mirror and two-way communications channel between the viewer and Christ. Through this lens, Leonardo created a technology whereby the Spirit of Salvator Mundi could be transmitted.  

​Trying to parse that paragraph is a fool’s errand. It makes no sense, for example, to accept the painting as a Christian icon but also to consider that the Holy Spirit needs “technology” to pass between worlds, like some sort of varnished star gate. It’s a shame that Henry didn’t elaborate on how exactly he feels that paint on canvas can breach the veil between worlds, or what exactly he thinks Christ is that he needs special gateways to pass into our world. I can’t help but think of the children’s book Harold and the Purple Crayon in which a small child can draw things into existence with his title crayon. Is that how Henry views Leonardo? And why can’t I channel deities? Does it require special paint?