(A) Overlay of the texture generated by
the 3D model onto the image of the Shroud of Turin, showing misalignment in
anatomical proportions. (B) Original image of the Shroud. (C) Overlay of the
texture generated by the low-relief model, demonstrating greater compatibility
with the Shroud image, especially in the torso and head regions. Credit: Archaeometry (2025). DOI: 10.1111/arcm.70030
The
Shroud of Turin is a famous artifact with obscure origins. How and when it was
made has long been the subject of debate among many scientists, historians and
religious leaders, alike. The two most prominent theories are that it was
either created as a work of art during the medieval period or that it was a
piece of linen that was actually wrapped around the body of Jesus Christ after
his death over 2000 years ago.
Radiocarbon dating done in a 1989 study on the Shroud of Turin dated it around 1260 to
1390 AD, consistent with the medieval theory. Later, in 2005, Raymond Rogers
argued that the tested sample from the radiocarbon dating came from an area that had been repaired, and
was thus newer than the original cloth. And more recently, in 2022, a single thread from the shroud material was tested
with a new—and somewhat controversial—method based on Wide Angle X-ray
Scattering (WAXS), which claimed that the shroud dated back to the first
century AD. If those results are reliable, this dates the cloth much closer to
the time of Jesus.
Yet another study examined
the blood patterns on the shroud and deemed them inconsistent with what would
be expected with a deceased man lying flat. In fact, the authors stated that
these blood patterns were "totally unrealistic." This led to the idea
that the blood might have been added to the shroud in a more artistic manner
after its creation.
Recently, a study using 3D modeling with MakeHuman, Blender and CloudCompare has added more evidence to the debate. The study, published in Archaeometry, compares digital imprints of a three dimensional human figure and a low-relief artistic rendering—similar to a flattened statue—of a human onto a flat sheet.
The
idea is that when a 3D object is wrapped with a 2D sheet, like a piece of
cloth, the resulting imprint is distorted and appears to be much wider than
when you look straight at the 3D object. This somewhat intuitive outcome is
referred to as the Agamemnon Mask effect. The Agamemnon Mask is a gold funerary
mask discovered at the Bronze Age site of Mycenae in Greece that looked like it
had been rolled out flat after fitting to a face.
The digital imprint on the 2D surface
which had been laid out on the 3D human figure appeared widened and distorted,
as expected, unlike the imprint on the real Shroud of Turin. Instead, the
low-relief model produced an imprint much more consistent with the Shroud's
actual appearance.
Cicero Moraes, the study author, writes, "The contact pattern generated by the low-relief model is more compatible with the Shroud's image, showing less anatomical distortion and greater fidelity to the observed contours, while the projection of a 3D body results in a significantly distorted image."
While
this study does not give any particular insight into the dating of the Shroud
of Turin, it does provide support to the idea that it was an artistic
rendering. Low-relief art was also common during the medieval period, so this type of creation aligns with what might have
been done during that time.
Moraes encourages others to test out the free and accessible software used in the study to replicate the results or delve deeper into other historical curiosities. He says, "This work not only offers another perspective on the origin of the Shroud of Turin's image but also highlights the potential of digital technologies to address or unravel historical mysteries, intertwining science, art, and technology in a collaborative and reflective search for answers."
Source: Shroud of Turin image matches low-relief statue—not human body, 3D modeling study finds
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