(13-04-2022, 03:42 PM)Koen G Wrote: You are not allowed to view links. Register or Login to view.Is anyone planning to submit a paper for the University of Malta conference? Or maybe still considering to?
Hi, Koen,
I intend to submit a paper on VM prefixes and suffixes and how they correspond to Slovenian Grammar.
Plain interpretation is one thing. However, the VMs clouds its interpretation with ambiguity. Beyond artistic idiosyncrasies, and investigative ignorance there is intentional obfuscation in the VMs illustrations. There is a level of trickery unrecognized, but plainly visible in several VMs examples.
A primary example is the in the heart of the VMs cosmos. The comparative versions of similar, inverted T-O Earth diagrams (E. Velinska) show the greatest similarities. BNF Fr. 565 and Harley 334. The two images are pictorial. The VMs image is linguistic. This change is a code shift. It does not "ostensibly" alter the message, but it alters the methodology. It doesn't alter the meaning, but look at what it does to 'appearance.' It is a plain example of the artist's choice to impose a diversity of appearance, to create the greatest visual diversity possible. That way the sources are better hidden when comparison is only based on appearance.
More linguistic and visual trickery is found in the stars and the in use of a nebuly line as a cosmic boundary, etc. etc. And then the use of combined images - Oresme's cosmos inside Shirakatsi's wheel. Appearance is altered. What matters is structure.
Obviously, this is just full of interpretation. And it is validated by several other examples from VMs illustrations, such as Melusine et al. with various historical, religious or mythological connections. Melusine is another combined illustration.
And the confirmation of intentional obfuscation is the plain duplicity of VMs White Aries. The clear presence of two alternatives exists. One that goes nowhere and another that delves into ecclesiastical, and heraldic tradition.
It's not that an illustrated example of history or trickery can be absolutely proven in the VMs with just a single example, because the nature of the example could be unclear, ambiguous, or even obfuscated. The examples are proved by the historical interpretations of other illustrated VMs examples as a group. If the Golden Fleece is valid, the date is after 1430.
On this occasion, I remembered one anecdote:
A visitor to an art exhibition, after looking at a painting for a long time, asks the administrator:
- Tell me, please, what does this picture mean?
To which that calmly replied:
- One minute. I need to look in the catalog.
(14-04-2022, 11:21 PM)R. Sale Wrote: You are not allowed to view links. Register or Login to view. If the Golden Fleece is valid, the date is after 1430.
If you have found strong arguments, this conference is a good opportunity to present them. Especially if it can clarify the age of the manuscript.
If I'd have found 'strong arguments', you'd have heard them by now. What I'm looking at are the illustrations, and with anything that is visual, there is going to be interpretation. The interpretation of VMs illustrations is based appearance, and sometimes structure, number etc. What appears to be happening in certain VMs illustrations is an intentional alteration of appearance. The comparison of similarity therefore fails if the only consideration is appearance. The use of a code shift in the inverted T-O Earth or two options for the orientation of blue stripes on White Aries are clear examples of artistic manipulation.
The interpretation of VMs illustrations is not based on a particular, single example. Rather it is built up from a variety of different investigations that coincide or connect with the era of the C-14 dates and the Golden Fleece. The historical cosmic illustrations, [BNF Fr. 565, Oresme (c. 1410) and Harley 334, De Metz, (c. 1430)] are both in the C-14 dates and are both made in Paris. Paris was held by the English and the Burgundians from 1420 to 1435. And the Order of the Golden Fleece is Burgundian.
There is La Sainte Hostie de Dijon in 1435. The Well of Moses, since 1405, is in Dijon. The Agnus Dei of BNF Fr. 13096 was in the library of the Dukes of Burgundy. The mystical ring and cross of Colette of Corbie are after 1410 and she was supported by the Dukes and Duchesses of Burgundy.
Harley 334 also has the "mermaid and friends" representation, as further defined by the illustrations of Lauber. However, in the VMs there has been a substitution, and the generic mermaid been replaced by the Melusine of Luxembourg which ties to the Valois descendants including Burgundy.
Additionally, the Valois line of Jean, Duke of Berry (d. 1416, Paris), has several connections to the Melusine of Lusignan. His library included BNF Fr. 565 and the Berry Apocalypse which has one of the better versions of a nebuly line used as a cosmic boundary, like the VMs cosmos.
How much ambiguity and obfuscation does it take to make up for one piece of irrefutable evidence? When these tricks like visual alteration, structural verification and the papelonny canting, that have been built into the VMs become more obvious, but that hasn't happened yet.