the fact that the WTS has put this image on their website which ascociates JEHOVAH (tetragrammaton) with the SUN. in other words Jehovah is the Sun. Sun worship.
From the portion of the image you posted, I would not go so far as label it as a representation of the sun. As is well-known in Christian art, glory and holiness is often depicted the same way -- as a circular array of rays streaming from the figure or person of interest. Of course, this motif is itself derivative from solar iconography. But that in no way identifies Jehovah with the sun or represents sun worship.
In art, language, and other aspects of culture, representations are semiotically composed of two things: the signifier (the artifact, the word, the symbol) and the signified (what is being represented). The artistic motif of shooting rays is a signifier that at one time indexed the Sun as the signified but within the Jewish-Christian demythologizing context which directly opposes the iconic representation of concrete signifieds (as forbidden in the Ten Commandments; "any likeness of anything in heaven," Exodus 20:4), the signifier is used to represent abstract signifieds like glory and holiness which in Jewish-Christian literature is described in almost solar terms ---
"his splendor was like the sunrise, rays flashed from his hand," Habakkuk 3:4
"all around him was what looked like fire and a light all around...the glory of Yahweh," Ezekiel 1:27-28
"a stream of fire poured out, issuing from his presence," Daniel 7:10
"beneath his throne were issuing streams of flaming fire ... flaming fire was round about him," 1 Enoch 14:20-22
"his eyes are like the rays of the sun and his face glorious," 1 Enoch 106:5
"his face shown like the sun and his clothes became as white as light," Matthew 17:2
"his face was like the sun shining in all its brilliance," Revelation 1:16
There is no inherent or stable connection between the signifier and signified and thus the same signifier can link to different signifieds over time, and when the motif represents something more abstract than the Sun, it can be generalizable and applied to a wider range of referrants and we see this in the texts above with the earlier texts (i.e. Habakkuk and Ezekiel) applying the motif only to Yahweh while the later texts (1 Enoch, Matthew, Revelation) apply it to angels, Jesus during the tranfiguration, and potentially to all the righteous (Matthew 13:43).
Sun-worship did indeed contribute to use of solar imagery in Yahwism at least initially, and Mark Baker in his Early History of God devotes a chapter to this subject. He writes: "To summarize, solar language for Yahweh apparently developed in two stages. First, it originated as part of the Canaanite, and more generally Near Eastern, heritage of divine language as an expression of general theophanic luminosity. Like Ningirsu, Assur, and Marduk, Yahweh could be rendered in either solar or storm terms or both together. Second, perhaps under the influence of the monarchy, in the first millenium the sun became one component of the symbolic repetoire of the chief god in Israel just as it did in Assur, Babylon, and Ugarit. In Israel it appears to have been a special feature of the southern monarchy, since the abvailable evidence is restricted to Judah; it is not attested in the northern kingdom. Furthermore, it seems to have been a special expression of the Judean royal theology" (pp. 157-158). Associating Yahweh, the king, and the Messiah with the sun is biblical (cf. Psalm 84:12, 2 Samuel 23:3-4, and Malachi 3:20 respectively), and thus it is not surprising if in Judeo-Christian art the tetragrammaton is embedded in motif derived from solar iconography.... what is surprising of course is the WTS accepting an image at all derivable from pagan iconography, since they endeavor to reject the signifier entirely if it is ever used by "pagans" in their worship or culture.
