Was Jesus really wrapped in the shroud of Turin? The three -dimensional study says, maybe not

the shroud From Turin is an old linen cloth with an accurate impression of the front and back of a crucified man. While many believe that it was the shroud of burial in which Jesus was wrapped when he died in his thirties, scientific research dated 1260 and 1390 AD, indicating that it is an artifact in the Middle Ages. The innovative new approach using 3D scannings now adds more credibility to the suggestion that Jesus’ body – or anyone to this issue – has not touched this famous fabric.

Cicero Moraes, a three -dimensional designer specializing in rebuilding 3D, joined the controversial debate using computer models to simulate scenarios: wrap a fabric paper (with the same size as the shroud of Turino) on a three -dimensional person and one on low human photography, or contact patterns. Low, also known as as PastekThey are the sculptures in which the numbers appear slightly only from their backgrounds. In other words, Muawis wanted to see whether the number on Turin’s shroud was closely closely with the imprint of the human body or recovery.

“The results show that the contact pattern resulting from the low -frustration model is more compatible with the image of the shroud, which indicates less anatomical distortion and greater loyalty to the noticeable lines, while the projection of the 3D body results in a great distorted image,” Mawis wrote in a study at the end of last month in the magazine Measurement. Mora is the only author. Simply put, “The image of the shroud is more consistent with a low -frustrating artistic acting more than a real human body, and support the assumptions of its origin as a medieval artwork.”

The study showed special attention to the “Agamemnon mask effect”. The effect sees that the contact style of the tissue covered in size, such as the body, appears distorted and mixed by flattening or pulling it. The name comes from the famous Ajmmanon maskHeinrich Schliemann’s golden mask (amateur archaeologist It is famous for the “discovery” of the city of Troy) that was discovered in Greece and was incorrectly identified as belonging to the Homeic Hero Agamemnon.

The full face mask, which represents the face of the deceased, looks extensively wide for the same reason that makes the imprint of the human face in the tissue to appear widely as soon as it is settled. The real turno shroud does not display the effect of Agamemnon mask.

On the other hand, “the printed image, created from the contact areas at low comfort, shows a great consensus with the present on the shroud of Turin, which is largely compatible with its oceans, even given the completely unjust base,” Morris explained in the study.

This conclusion supports the theory that the shroud was not wrapped around a real (or divine) body. Instead, it may be an artistic representation, as suggested, may be associated with funerary practices.

“This work does not provide another perspective on the origin of the shroud of the image of Turin, but it also highlights the potential of digital technologies in dealing with or detecting historical puzzles,” and concludes to “intertwined sciences, art and technology in cooperative research and reflection on the answers.”