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The Vatican has never officially pronounced on the shroud’s authenticity, though popes have held it up as an object of veneration.
Shroud of Turin featuring positive (left) and negative (right) digital filters. (photo: Credit: Dianelos Georgoudis via Wikimedia Commons / Wikimedia Commons)
Few religious artifacts have been studied and debated as extensively as the Shroud of Turin.
Countless Catholics and other Christians across the world believe it is the authentic burial cloth of Jesus Christ, wrapped around his body after his crucifixion and marked by his unmistakable visage and form.
Critics, meanwhile, have for years alleged that it is nothing more than a forgery — a clever work of religious art and an impressive technical feat that carries no more or less religious significance than a painting or statue.
Those claims were made most recently by Cicero Moraes, a Brazilian 3D artist who in the scholarly journal Archaeometry last month, claimed that the depiction of Christ’s body on the shroud was likely made by a “low-relief model” such as a statue rather than a human body.
The imagery on the shroud is “more consistent with an artistic low-relief representation than with the direct imprint of a real human body, supporting hypotheses of its origin as a medieval work of art,” the study alleges.
The Brazil study has generated widespread coverage in the media, with mainstream outlets such as the New York Post and the New York Sun reporting on the study’s findings. Internet outlets such as Gizmodo and Live Science also touted the conclusions of the study.
Continued below.
www.ncregister.com
Few religious artifacts have been studied and debated as extensively as the Shroud of Turin.
Countless Catholics and other Christians across the world believe it is the authentic burial cloth of Jesus Christ, wrapped around his body after his crucifixion and marked by his unmistakable visage and form.
Critics, meanwhile, have for years alleged that it is nothing more than a forgery — a clever work of religious art and an impressive technical feat that carries no more or less religious significance than a painting or statue.
Those claims were made most recently by Cicero Moraes, a Brazilian 3D artist who in the scholarly journal Archaeometry last month, claimed that the depiction of Christ’s body on the shroud was likely made by a “low-relief model” such as a statue rather than a human body.
The imagery on the shroud is “more consistent with an artistic low-relief representation than with the direct imprint of a real human body, supporting hypotheses of its origin as a medieval work of art,” the study alleges.
The Brazil study has generated widespread coverage in the media, with mainstream outlets such as the New York Post and the New York Sun reporting on the study’s findings. Internet outlets such as Gizmodo and Live Science also touted the conclusions of the study.
Studies Point to First-Century Shroud of Torture Victim
Continued below.
What Years of Study Suggest About the Shroud of Turin
The Vatican has never officially pronounced on the shroud’s authenticity, though popes have held it up as an object of veneration.
