In this article I outline some of the more prodigious characteristics of the Shroud of Lirey-Chambery-Turin's image and highlight the inadequacy of the various image formation theories postulated this century. A review is then given of some of the findings of a recently established body of evidence which strongly indicates that the image which appears on the "Shroud of Turin" was produced by means of a technique which (it is normally assumed), was only invented in the late eighteenth century, viz: negative photography. In the light of these findings I conjecture that our current understanding of the level of scientific and artistic knowledge (technology) available in the medieval period (especially c. 1280-1357 AD) is in need of a major overhaul.
Hierdie artikel bespreek sommige van die uitstaande kenmerke van die beeld op die "Grafkleed van Lirey-Chambery-Torino" en beklemtoon die ontoereikendheid van teoriee wat in hierdie eeu oor die vorming van die beeld gepostuleer is. 'n Oorsig word verskaf van resente getuienis wat suggereer dat die beeld op die grafkleed geproduseer is deur 'n tegniek wat (soos algemeen aanvaar) eers aan die einde van die agtiende eeu ontdek is, nl. negatiewe fotografie. In die lig hiervan word voorgestel dat huidige opvattings oor die vlak van wetenskaplike en artistieke kennis (tegnologie) in die Middeleeue (veral ca. 1280-1357) hersien moet word.
