A recent study utilizing advanced 3D modeling techniques proposes that the image on the Shroud of Turin may not be the direct imprint of a human body, but rather the result of a low-relief sculpture. The findings, published in the journal Archaeometry in July 2025 by Brazilian 3D designer Cicero Moraes, challenge long-held beliefs about the artifact's creation.
Moraes employed sophisticated 3D modeling software to create digital representations of both a human form and a low-relief sculpture. He then simulated how fabric would drape and imprint onto these distinct models. The imprint generated from the low-relief sculpture closely mirrored the characteristics of the Shroud of Turin's image. In contrast, the simulation using a human body model produced a distorted imprint, often referred to as the "Agamemnon Mask effect," where the fabric appears stretched and wider than the actual form.
This research aligns with theories suggesting that medieval artists might have employed a bas-relief technique, a common artistic practice in European funerary art during that historical period. The study highlights the significant role digital technologies can play in deciphering historical enigmas. While Moraes's work provides compelling evidence for an artistic origin, the debate surrounding the Shroud of Turin's authenticity remains active, with centuries of scrutiny and diverse interpretations.
Radiocarbon dating tests conducted in 1988 suggested a medieval origin for the shroud, placing its creation between 1260 and 1390 CE, though these findings have been contested. The International Center of Sindonology has noted that the concept of the shroud's image being an orthogonal projection, consistent with a flat or low-relief source, has been discussed by researchers since the early 1900s. Despite ongoing discussions, the Shroud of Turin continues to captivate researchers and believers alike.