The Shroud of Turin is a piece of aged linen on which a faint and spectral image of a man appears to be imprinted. This image was first recorded in France in 1354. Nobody knows who the imprint depicts or precisely how it was made. Some Christians believe it once wrapped the body of Jesus Christ after his crucifixion. Skeptics insist it is a medieval forgery or an artistic creation.
3D Analysis By a Brazilian 3D Specialist Finds Shroud of Turin Image May Not Be From an Actual Human Body and May Depict Low-Relief Artwork
A new study has reignited debate over the Shroud of Turin. The linen bears faint front and back images of a man with apparent wounds consistent with crucifixion. It first appeared in recorded history in fourteenth‑century France and is now housed in Italy. Nevertheless, despite reverence by many Christians, scientists have long disputed its authenticity.
Cicero Moraes, a Brazilian 3D specialist, created two parametric models. One involved a fully three‑dimensional human form, and the other involved a low‑relief sculpture. He used a simulation software to virtually drape linen over each model. The resulting contact patterns were then compared with high‑resolution photographs of the Shroud.
The resulting contact simulation patterns were specifically superimposed onto high‑resolution photographs of the Shroud to assess anatomical distortion and alignment in key regions or what was supposed to be the head, torso, and limbs. This was critical in assessing anatomical accuracy and distortion. The following are the important findings of the analysis:
• 3D Human Model Results: The virtual fabric over a full 3D human figure produced significant anatomical distortions—especially widening of the torso and face—due to wrapping over true volumetric surfaces. This is called the Agamemnon Mask effect.
• Low-Relief Model Results: In contrast, draping the cloth over the shallow relief generated an imprint with minimal distortion, closely matching the proportions and contours visible on the actual Shroud, particularly around the head and torso regions.
• Relative Compatibility: The low-relief imprint pattern is significantly more compatible with the image on the Shroud than the contact pattern from a fully three-dimensional body. The low-relief model showed greater anatomical fidelity and less distortion.
The findings above support the hypothesis that the image on the Shroud of Turin may have been produced by contact with a low-relief carved matrix, which was possibly pigmented or heated where it touched the cloth. These findings are also more consistent with or are better aligned with medieval artistic practices than with a burial wrapping scenario.
Carbon dating tests conducted in 1988 further support a medieval origin for the Shroud. Results placed its creation between 1260 and 1390 AD. Such dating aligns with periods when bas‑relief religious art flourished in Europe. Some dispute these findings and cite possible contamination or repair patches that may have skewed the radiocarbon results.
The Vatican has neither affirmed nor denied its authenticity. Forensic researchers who support authenticity highlight bloodstain patterns and scourge marks that they argue are consistent with crucifixion trauma. These opposing interpretations continue to fuel vigorous debate among historians, scientists, and religious communities worldwide.
Moraes reminded that his study does not settle the matter definitively but introduces a reproducible computational approach. His research strengthens the hypothesis of an artistic rather than forensic origin by demonstrating alignment with a low-relief model. The discussion surrounding the relic remains unresolved yet deeply significant.
FURTHER READING AND REFERENCE
- Moraes, C. 2025. Image Formation on the Holy Shroud—A Digital 3D Approach. Archaeometry. DOI: 1111/arcm.70030