Scientists replicated the ancient Lady of Cao's face by analysing her skull structure and remains.
A crew of facial reconstruction experts have successfully recreated the face of a male who lived in the Biblical city of Jericho. The project was based on an advanced analysis of the Jericho Skull - the oldest portrait in The British Museum.
Talk about a miracle of modern technology! A team of researchers in France claims to have reconstructed the face of St. Mary Magdalene, based on a relic of her skull in that country. Here’s what they came up with: The team took 500 photographs of the skull, housed in the Basilica of Saint-Maximin-La-Sainte-Baume, and made a 3D computer model. They then used modern forensic reconstruction techniques to rebuild the muscles and tissue on the skull to see what the face looked like.
The unveiling of a 75,000-year-old female Neanderthal's reconstructed face marks a significant breakthrough in our understanding of our closest extinct relatives.
As the U.K. wrestles with issues of identity and nationalism around Brexit, a new exhibit is putting fresh faces on the region's ancient residents.
Using skulls up to 6,000 years old unearthed by archaeologists, producers recreate how four residents of ancient Israel might have looked
Dundee University academics use digital technology to recreate the face of a Viking whose skeleton was excavated 30 years ago.
Quite possibly, the most famous and enigmatic human skulls on the planet are from the Paracas and Nazca area of Peru south of Lima. They have been interpreted as being alien, annunaki, nephilim and human hybrids, but only via now ongoing DNA testing will we know for sure. Initial tests of the Paracas indicate aberrations...
Ancient skulls in Scotland have been turned into lifelike digital reconstructions, bringing visitors to the Perth Museum and Art Gallery face-to-face with the past.
When archaeologists were excavating a dry prehistoric lake bed in Motala, Sweden in 2009, they stumbled upon one of the most peculiar archaeological discoveries the nation had seen – the so-called ‘Tomb of the Sunken Skulls’, a collection of skulls dating back 8,000 years, which had been mounted on stakes.
Dutch twins Adrie and Alfons Kennis are showing their uncanny models in museums all over Europe. Adrie discusses how their creations are realised and the extreme reactions they can provoke
For Elisabeth Daynès, sculpting ancient humans and their ancestors is both an art and a science
Newsletter 52 The Reconstruction of Meritamun's Face Forensic Facial Reconstruction of a mummified head
A forensic artist used 3-D scans of the hunter-gatherer's cranium to envision what he may have looked like in life
A new twist in the mapping of early human migrations into North and South America has occurred after DNA samples from the 10,000-year-old “Spirit Cave mummy,” unearthed in a cave in Nevada, revealed it’s the ancestor of a Native American tribe.
Scientists have finally discovered how King Tutankhamun died, nearly a century after the boy-pharaoh's tomb was unearthed in Egypt.
Forensic scientists have reconstructed the face of a 9,000-year-old female teenager based on a skull archaeologists found in a Greek cave. Experts claim that the reconstructed face reveals how much our facial features have changed over the millennia.
As the U.K. wrestles with issues of identity and nationalism around Brexit, a new exhibit is putting fresh faces on the region's ancient residents.
Esto es BlitzoCast. El HistoCast de los lunes alternativos. En este primer capítulo aborda la vida de Filipo de Macedonia, unificador de Grecia y creador del ejército macedonio que haría legendario a su hijo y sucesor Alejandro Magno.
Reconstitution faciale de la Dame de Vix à partir des os du crâne.
Sweden has long been a role model of gender equality. Find out more about the people and the policies that have made a more gender-equal society possible.
Archeologist Jim Chatters tells how he put a face to Kennewick Man, a 9,000-year-old skeleton found in Washington State.
Experts used the male's skeleton, discovered on the site of an old church at Lincoln Castle in 2013, to reconstruct what he would have looked like (pictured).
Forensic scientists have reconstructed the face of a 9,000-year-old female teenager based on a skull archaeologists found in a Greek cave. Experts claim that the reconstructed face reveals how much our facial features have changed over the millennia.
Forensic facial reconstructions allow us to look eye to eye with our ancient ancestors and relate to them in a way that skeletal remains do not. Here’s how the art/science developed.
Scientists have also found out new details about the medieval bowman, including his age and rank
The meticulous process, based on a skull from a Greek cave, reveals how our facial features have changed over the millennia.
Her skeleton was discovered in East Sussex in 1953, and she is thought to have lived around AD245 - the middle of the Roman period in Britain.
The British Museum reconstructed the face of the most intriguing skull in its collection.
Researchers in Scotland believe that they are closer to understanding a man who was brutally killed 1,400 years ago.
New facial reconstruction of a man buried in a medieval hospital graveyard discovered underneath a Cambridge college sheds light on how ordinary poor people lived in medieval England. The audience of an event at this year’s Cambridge Science Festival found themselves staring into the face of a fellow Cambridge resident – one who spent the last 700 years buried beneath the venue in which they sat.
Populations of hunter-gatherers weathered the Ice Age in apparent isolation in Caucasus mountain region for millennia, later mixing with other ancestral populations, from which emerged the Yamnaya culture that would bring this Caucasus hunter-gatherer lineage to Western Europe.
If you have ever been dragged around a museum to look at objects from the ancient world you might have found yourself secretly thinking "is this stuff really any good?". Rightly or wrongly many people tend to judge the quality of art on the the perceived level of skill involved and how life-like it looks. And as crude a measure as this is, when things look like real life they can have a certain magic to them, they can draw us in to empathise with the reality of subject. Okay many ancient sculptures look life-like and impressive but the majority of ancient murals, reliefs, and pottery show styalised images that can be hard to relate to. I remember a time in the past where I felt a little guilty for being unimpressed by those endless cabinets of flat black figures on Greek vases, they looked alien and a bit simplistic. It was, at that time, hard to fathom the umparralleled technique and skill that went into that pottery and I found myself thinking "Is this really the best they could do?" What did anicent people actually look like? Where were the images of 'real' people, where were the 3D painting techniques the use of perspective or light srouces, for that matter were there any ancient paintings? And even if they did paint surely these too would be creaky 2D images, heavily styalised and looking nothing like real life. I mean didn't it take until Giotto in 13th century Italy before human figures started to look naturalistic and engaging? Well the anicent world did have a great many paintings, but paintings are delicate, and delicate things don't tend to travel well. However, there was a series of extraordinarily striking paintings that did survive - the Fayum Mummy Portraits: 'the only naturallistically coloured portraits to survive from antiquity' (Oxford Classical Dictionary, Portraiture, Roman p.1229). Click on some of the images I have included, zoom in, look at the eyes, and for once your locking in directly to a specific person, their look, their style, their feeling, their raw fucking humanity. No longer does the anicent world require you to keep making up the shortfall with your imagination, with your interpretation, for once it's just playing ball and giving you things are they are. For the first time you are eye to eye with a real person from about 2,000 years ago. Just when you need the the ancient world to cut you a break and provoke your interest, just when you feel there's nothing real to connect with you find the Fayum portraits and your prayers are answered. And as we'll see in later posts when it comes to Fayum it's not just in the field of paintings that that region gives us the rare personal details that we are so desperate for. more background details on fayum etc etc. very naturalistic. not all are this good though. This is what John Berger has to say about the portraits: They are the earliest painted portraits that have survived; they were painted whilst the Gospels of the New Testament were being written. Why then do they strike us today as being so immediate? Why does their individuality feel like our own? Why is their look more contemporary than any look to be found in the rest of the two millenniaof traditional European art which followed them? The Fayum portraits touch us as if they had been painted last month. Why? This is the riddle… Imagine then what happens when somebody comes upon the silence of the Fayum faces and stops short. Images of men and women making no appeal whatsoever, asking for nothing, yet declaring themselves, and anybody who is looking at them, alive! They incarnate, frail as they are, a forgotten self-respect. They confirm, despite everything, that life was and is a gift. However, as with all scholarship into the ancient world just when you feel you're getting somewhere, the rug is suddenly pulled out from under you. Just when you feel you have found the first glimpse into real life someone comes along and says hold on you've got it all wrong. And in this case it's A.J.N.W Prag ('Proportion and personality in the Fayum Portraits', BMSAES 3 (2002), 55-63 http://www.thebritishmuseum.ac.uk/bmsaes/issue3/prag.html) who certainly gives us a come down: "On first study the mummy portraits of the Roman period give us a series of likenesses that appear to be carefully worked representations of particular people, but closer analysis has shown that the 'individual' traits are generally simply the quirks of a workshop or painter, emphasised by the repetitive and formulaic use of proportion but often concealed by fashions in hairstyles and beards. What is lacking is the detailed observation of the underlying proportions of the individual skull which gives each face its own personality." And he's right, most of the portraits are variation on a formula, and although at first glance they appeared to be far more engaging and realistic than most ancient images, upon close inspection they are in a way just as generic and abstracted as 2-D vase figures we saw earlier. However, Prag can't totally kill off our discovery: "a few portraits stand out by their sheer quality: the acid test of their fidelity would be a reconstruction based on the skull, a test which was carried out in Manchester on two portraits from Hawara now in the British Museum (EA 74713, EA 74718) in the wake of the "Ancient Faces" exhibition. The one proved to be a reasonable likeness as far as detail is concerned but failed in representing the overall proportions of the face, showing that the painter had merely adapted a standard workshop type; the other, although superficially also a standard type, comes much nearer the truth because the artist has rendered the proportions of his subject's face correctly." Portrait of a man, from Hawara, AD 80–100 (British Museum EA 74718), and a reconstruction of his face. © The Trustees of the British Museum. Portrait of a woman, from Hawara, AD 55–70 (British Museum EA 74713), and a reconstruction of her face. © The Trustees of the British Museum. copenhagen jkjkjkjkjkjkjkjkjkj
Swansea University researchers reveal how they reconstructed the face of an archer who drowned on the Mary Rose more than 500 years ago.
