Recreation of the face of Jesus, made by AI based on the Holy Shroud.
New study suggests that the Turin Shroud has covered a sculpture – which is in the conclusion of carbon dating from 1989.
Christianity says that the Holy Shroud (or Shroud of Turin) was the fabric that involved the body of Jesus after its crucifixion, but a new study, this Monday in the magazine Archaeometrybelies the longtime belief.
Brazilian investigation, conducted by Cicero Moraesguarantees that the image of the shroud cannot have been created by contact with a three -dimensional human body. It is more likely that the image was created from a sculpture in the low-relief.
The Brazilian designer, which specializes in historical facial reconstructions, resorted to Digital modeling and 3D software to prove it. He compared the behavior of a tissue when placed on a three-dimensional human body, in the face of when it is placed on a low-relief sculpture.
The results showed that the pattern observed in the Shroud is more compatible with how the cloth adjusts to a flat -relief flat surface.
“The image in the Turin Shroud is more consistent with a low relief matrix,” Moraes confirmed. “Such matrix could have been made of wood, stone or metal and pigmented (or even heated) only in contact zones, producing the observed pattern.”
The veracity of the shroud and the surrounding history has been since its discovery in the late fourteenth century.
Em 1989a radiocarbon dating indicated that the play was no more than a medievel artifact, produced between 1260 and 1390-which coincides with the Brazilian discovery of now, since religious representations in the low-relief-as carved heads-were common in Europe at that time.
In practice, Moraes created two digital models: a three-dimensional human body and a low-relief version. By simulating the act of covering both with the virtual fabric, he concluded that only the low-relevo model generated an image similar to that of the shroud photographed in 1931. In the three-dimensional model, the image suffered distortions, a phenomenon that Moraes dubbed the “Effect of Agamémenon Mask”, alluding to the Greek mortuary mask whose shape was extended when pressed on a real face.
Although there is a “remote possibility that it is an impression of a three -dimensional human body, it is plausible to consider that artists or sculptors with enough knowledge could have created such a piece, either through painting or low relief,” says the author.
