I see that we think differently. That's fine. That helps improve research
I think the VM is a medicinal herbal made with astrological magic. It is my theory based simply on common sense. If I see a medieval book with images and a script never seen, the first thing I think is that its authors have imagined something they don't see either but what they believe in. They are not avant-garde artists. They are people who believe in the power of the stars.
They don't draw herbs they know, but the opposite, because they believe that the herbs must be somewhere in the world. In a hundred years of research, reputed botanists have been unable to identify even 10% of the plants, and that without full security. And most surprisingly, people more familiar with the natural world than us did not identify them in the 17th century either. And surely many learned people saw the VM then.
It is important to be aware that everything we see in the VM is closely related. The Rosettes seems to have nothing to do with plant images, but they are linked. In the central circle we see some strange objects that are difficult to identify. They look like containers or towers.They are actually censers that keep the fragrance of aromatic herbs.
It's not difficult to prove it. Look at this picture
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In the painting of Salomon and the queen of Saba by Konrad Witz, she offers the king a container that looks like some we see in the Rosettes. The queen controlled the incense route.
And look at this photographof an old perfume glass
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It looks like also what we see in the Rosettes folio
The Rosettes is a cosmological diagram that shows how stars give herbs their virtues, their fragrance. It is what we see represented distilling from one circle to another until reach the Earth
My concern is that you, jkp, sometimes don't quite make the difference clear between the semantic meaning of voynich glyphs and their design heritage. You can't assume that because, ie, one of them looks like a vowel it actually is a vowel. *
Antonio, lovely story about Salomón, didn't know that one. There are a number of mud 15th woodcuts with such bowl elements in them, usually spice holders. Here's one from circa 1435. Wing from the Mirror of Salvation altarliece from St. Leonhard, Basle. Tempera on wood. Kunstmuseum Basel, Basel, Switzerland.
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The other wings also show similar items. However, the imagery suggests such things were reserved for the upper classes.
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I have always insisted rather loudly that glyph origin (design heritage) and semantic value are two completely different issues.
(14-04-2020, 12:07 PM)Antonio García Jiménez Wrote: You are not allowed to view links. Register or Login to view.6º The script of the book uses totally unknown glyphs
Quote:JKP : Only a few of the glyphs are unknown ([font=Eva]t, p,[/font] and their benched versions)
In my opinion it's possible to find all the glyphs in the works that deal with Greek writing. I had quoted You are not allowed to view links.
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Login to view. a few years ago, and I’m adding here a link to You are not allowed to view links.
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Login to view. for glyph "t" EVA.