A new study by Brazilian 3D designer Cicero Moraes has reignited discussion about the Shroud of Turin—a cloth revered by many Christians as bearing the image of Jesus.

Using advanced 3D computer modeling, Moraes simulated how both a real human body and a sculpted relief would leave an impression on fabric. His research used free, open-source software, digital body modeling, fabric dynamics, and contact area mapping.

Moraes’ findings, as reported in Popular Mechanics, suggest that a real body would create distorted features on the cloth due to the way fabric drapes over curves. However, the image on the Shroud does not show these distortions. Instead, it more closely matches what might be expected from contact with a shallow, sculpted relief—raising the possibility of an artistic origin rather than a miraculous imprint.

This conclusion echoes earlier evidence from radiocarbon dating carried out in 1988, which placed the Shroud’s creation between 1260 and 1390 AD—well after the time of Christ. Further forensic studies in the 1970s and 1980s identified pigments such as red ochre and vermilion, commonly used in medieval painting.

However, many still believe that the material is consistent with the time of Christ. Advocates say details such as evidence of crucifixion wounds at the wrist, rather than the palm (as commonly depicted in medieval paintings), suggest its authenticity. Some scientists connected to the Shroud of Turin Research Project (STURP) report that stains on the material contain human blood, including hemoglobin, creatinine, and bilirubin.

The details of Moraes’ research have been published in the journal Archaeometry.