A recent study suggests that the Shroud of Turin, a centuries-old linen cloth long believed by some to be the burial cloth of Jesus Christ, may not have actually been used to wrap his body after the crucifixion.
Brazilian graphics expert Cicero Moraes, who led the study, created a virtual simulation of the shroud, overlaying it onto an image of a human form to see if the markings on the cloth aligned with a real body. His findings indicated that this alignment was unlikely. The shroud, thought to date back to the mid-14th century, has often been dismissed as a medieval forgery by skeptics.
Moraes explained that perspectives on the shroud typically fall into two camps: those who believe it’s an authentic relic of Jesus and those who consider it a fake. Moraes, however, sees it as a powerful piece of Christian art designed to convey a message effectively.
Through his virtual simulation, Moraes noted that the image on the fabric was “distorted and more robust” than it should be if it had wrapped a 3D human body, as the transition from 3D to 2D would naturally cause deformation in the stains. Bloodstains from a 3D body should produce a more exaggerated, swollen image on cloth—not the delicate, photocopy-like image found on the shroud. Moraes posits that an object like a bas-relief might produce the clearer, undistorted image seen on the shroud.
Further analysis revealed inconsistencies in the impressions, including the unusual spread of markings around the scalp and toes, along with missing details for the torso, groin, and neck areas. Moraes suggested the shroud might be a symbolic representation, crafted to embody a religious message rather than an actual physical wrapping.
The Shroud of Turin’s authenticity has been a subject of debate for centuries. In 1390, even the Vatican expressed doubts when Pope Clement VII referred to it as “a painting or panel made to represent or imitate the shroud,” suggesting it was not the genuine burial cloth of Jesus.