Rekonstrukcja twarzy Damy z Ampato

Face reconstruction of the Lady of Ampato

The facial reconstruction was carried out by the Swedish artist and archaeologist Oscar Nilsson. The entire process involved numerous consultations with specialists in archaeology and lasted nearly six months.

The first stage involved using CT scans to create a skull model by Dr. Bartłomiej Ćmielewski from Wrocław University of Science and Technology. Next, the skull was 3D printed, and 32 pegs corresponding to the thickness of soft tissues were placed at anatomical points. Four key factors played a crucial role in determining the soft tissue thickness: age, sex, ethnic origin, and nutrition (the latter could be assessed thanks to the CT scans).

For over a century, the depth of soft tissues at specific anatomical points on the human face has been meticulously studied, resulting in a vast number of charts and tables. Alongside knowledge of tissue depth, the face is also reconstructed muscle by muscle. This combination of two techniques yields the most comprehensive result and is known as the Manchester method. The nose, eyes, and mouth are determined based on arithmetic patterns developed in the past.

After the facial reconstruction was completed, a mold was made to cast the face in skin-colored silicone. The face was then further pigmented to achieve a fully realistic appearance and tone. The hair was inserted strand by strand directly into the silicone. Thanks to the excellent preservation of the mummy, it was possible to recreate the hair length and hairstyle. The reconstruction was complemented with a hand-woven and dyed shawl and headdress ñañca made by weavers from Chinchero at the Centro de Textiles Tradicionales del Cusco. They specialize in traditional textile production, passing down their knowledge from generation to generation.

The reconstruction was first presented during the opening of the exhibition “Capacocha. Following the Gods of the Incas,” funded by the Ministry of Science and Higher Education as part of the project “Internationalization of Research Conducted by the Archaeological Stations of the University of Warsaw.” The exhibition featured eight large-format panels showcasing the latest research results on the capacocha ritual carried out by the Polish-Peruvian team. 3D copies of the mummies and artifacts from the museum collection were displayed as holograms and on screens. Some of these were also 3D printed. Visitors could also embark on a virtual pilgrimage following the capacocha path, traveling along the remains of Inca roads to tambos (final resting stations) on the slopes of Chachani, Misti, and Pichu Pichu using VR glasses. The exhibition was shown in Arequipa and Cusco (Peru) as well as Warsaw, Wrocław, and Gliwice (Poland).