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In a startling revelation, one expert has used AI to expose a glaring impossibility regardingthe Shroud of Turin - long believed to be the burial cloth of Jesus.

A groundbreaking new 3D digital examination purports to demonstrate that the ancient linen was probably not marked by the face of Jesus Christ himself, but was in fact created by a medieval artist in tribute to the sacred event.

It had been believed that the shroud bore the imprint of Jesus' face following his crucifixion and entombment.

However, a Brazilian digital graphics specialist has now challenged this theory, according to Archaeometry. Cicero Moraes utilised freely available modelling software including MakeHuman, Blender, and Cloud Compare to illustrate how fabric would drape when positioned on both a human form and a sculpture crafted on a flat surface with shallow, elevated sections.

The Turin Shroud, which measures 14.5 feet by 3.7 feet, displays a faint impression of a man bearing wounds consistent with crucifixion death, reports the Mirror US.

For generations it was considered that the linen was a sacred relic from over 2,000 years ago.

Despite doubts about the authenticity of this account - the story has endured - since the artefact first emerged in the 14th century.

In 1989 radiocarbon dating analysis positioned the shroud's origins in the medieval era between 1260 and 1390 CE. Whilst subsequent studies contested these results, proposing that the sample may have originated from a mended portion of the fabric, the initial account remained widely accepted.

In Moraes' latest digital experiment, the picture generated when fabric was digitally placed over a three-dimensional human figure bore little resemblance to the shroud in question.

The figure seemed distorted, broader and deformed owing to how material would naturally drape across an actual body.

This warping is known as the "Agamemnon Mask effect," taking its name from the broad gold burial mask unearthed at Mycenae, an ancient Greek site. Conversely, the impression created by a shallow relief sculpture corresponded far more closely with the form and proportions visible on the Turin Shroud.

Moraes said: "The contact pattern generated by the low-relief model is more compatible with the Shroud's image. It shows less anatomical distortion and greater fidelity to the observed contours."

He outlined how a shallow carving, perhaps fashioned from timber, stone, or metal, would probably have functioned as a template to produce the intended result.

Subsequently, warmth or pigment may have been administered solely to the raised portions of the surface to form the silhouette of Christ's likeness. Moraes indicated that this technique would account for the even, two-dimensional appearance of the Shroud, in contrast to the warped outcome one would expect from wrapping material around an genuine human form.

Moraes proposed there remained a slight possibility the fabric might have been taken from an actual burial covering - his findings corroborate the carbon dating conducted in 1989.

Moraes refrained from examining the material composition and possible techniques employed, but determined the artefact ought to be regarded as a "masterwork of Christian art."

This artistic depiction aligns with the era. Throughout the medieval period, subtle portrayals of religious figures were commonplace across Europe, and shallow engravings were frequently utilised by Medieval craftsmen.