(28-07-2026, 07:03 PM)Antonio García Jiménez Wrote: You are not allowed to view links. Register or Login to view.In 2011, the husband-and-wife team of Lincoln Taiz and Sandra Lee—renowned plant biology researchers—published an article in a specialized American journal in which they interpreted the images from Quire 13 of the Voynich manuscript as a plant physiological process. It was the first time an alternative interpretation had emerged for this mysterious section of the Voynich.
This interpretation has the merit of linking the section of female figures with the herbal. For these authors, the naked women could represent the soul of the plant, and the green color, the sap flowing through the plant's vessels.
My interpretation differs in that I believe the female figures are the personification of astral influence; as for the color green—while I do not rule out the possibility that it represents water—I am increasingly inclined to view it as the vital force of the cosmos that gives the plant world its color.
Hildegard of Bingen called viriditas to the force of nature, the sap flowing in plants, the regreening power of the cosmos, and ultimately of God. Setting aside theological aspects, an author like Albertus Magnus—steeped in Aristotelian philosophy—maintained that for a seed to awaken and produce green leaves, it needs to be animated by heat, light, and the movement of the celestial spheres.
What I find particularly interesting is the question of the green fluid. Your reference to Hildegard of Bingen’s
viriditas opens up a much broader possibility of interpretation than simple plant physiology. For me, this leads to a rather extraordinary association with The Matrix, the film by Lana and Lilly Wachowski. They made a brilliant conceptual shortcut there: the reality we perceive as material turns out to be, in essence, information encoded in a particular system. Interestingly, this code is represented precisely as flowing green characters. For the viewer, these characters have virtually no linguistic meaning. The point is not to read and translate them. Their function is to communicate one thing: behind the reality we observe, there is a hidden layer of information.
And this is where I see a very intriguing similarity to the text of the Voynich Manuscript. The mysterious green elements in
The Matrix and the equally mysterious letters of the Voynich Manuscript may, hypothetically, serve a similar function: not to convey information through the meaning of individual characters, but through the very fact that these characters exist, indicating the presence of a hidden information system. If the green fluid in the Voynich Manuscript does not represent merely water or plant sap, but - as you suggest in connection with Hildegard - a vital force permeating nature, we can ask an even more radical question: could it be a symbol of the flow of information, energy, or even a kind of “code” that animates the world being depicted?
And this brings me to my fundamental hypothesis concerning the text of the Voynich Manuscript. Perhaps this text does not “mean” anything in the classical linguistic sense. Its function may simply be to communicate one fundamental message to the reader: you are looking at a system belonging to another order of communication - a world of information, a digital model of reality, a kind of “mind” or information cloud. If this is the case, then attempts to decipher the Voynich Manuscript using purely analog methods - as a medieval language, cipher, herbal, or ordinary text - may simply be a waste of time. Perhaps we are trying to “translate” something that was never meant to be translated.
The illustrations are the most important element. It is there that the true semiotic meaning of the entire manuscript may be hidden. The text would then function more like an interface or a signal telling us that we are dealing with a different system of encoding, while the plants, figures, fluids, diagrams, stars, and the relationships between them would constitute the actual information structure.
And this is where Hildegard becomes particularly interesting. I am obviously not claiming that she knew about a “digital world” in the modern sense. What interests me is the mechanism itself: an invisible form of information or principle of reality is represented through visions, symbols, and images. Hildegard lived in the 12th century, while the Voynich Manuscript was created several centuries later. If my hypothesis is correct, it is therefore conceivable that the Voynich Manuscript was also a kind of message intended not so much for people of its own time, but for a future reader who would eventually possess the appropriate way of interpreting it.
![[Image: balneis0.png]](https://wwwhomes.uni-bielefeld.de/mwille2/VMS/balneis0.png)
![[Image: 500px-Liber_ad_honorem_Augusti_f105r.jpg...=thumbnail]](https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Liber_ad_honorem_Augusti_f105r.jpg/500px-Liber_ad_honorem_Augusti_f105r.jpg?utm_source=en.wikipedia.org&utm_campaign=imageinfo&utm_content=thumbnail)