The Voynich Ninja

(04-07-2026, 11:48 AM)Koen G Wrote: You are not allowed to view links. Register or Login to view.How, where and when. Most of these pictures are from several centuries after the VM was made.

Someone just really wants to believe

(04-07-2026, 11:28 AM)Rafal Wrote: You are not allowed to view links. Register or Login to view.In European iconography the only similar thing I know is prophet Jonah swallowed by a fish. Are these types of pictures related??? Dunno.

From You are not allowed to view links. Register or Login to view.

This image is in the calendar section for february, where you normally find pisces. Perhaps relevant, perhaps not.

[attachment=16344]

I think it is more alchemy and hermetic symbol. I have only mobile phone and this is translation from the book i am posting pictures of talisman seals.

(05-07-2026, 04:53 PM)eggyk Wrote: You are not allowed to view links. Register or Login to view.

(04-07-2026, 11:28 AM)Rafal Wrote: You are not allowed to view links. Register or Login to view.In European iconography the only similar thing I know is prophet Jonah swallowed by a fish. Are these types of pictures related??? Dunno.

From You are not allowed to view links. Register or Login to view.

This image is in the calendar section for february, where you normally find pisces. Perhaps relevant, perhaps not.

However, the motif of a man being swallowed by a fish—as a symbol of rebirth—also fits into the Book of Enoch.

(05-07-2026, 04:53 PM)eggyk Wrote: You are not allowed to view links. Register or Login to view.

(04-07-2026, 11:28 AM)Rafal Wrote: You are not allowed to view links. Register or Login to view.In European iconography the only similar thing I know is prophet Jonah swallowed by a fish. Are these types of pictures related??? Dunno.

From You are not allowed to view links. Register or Login to view.

This image is in the calendar section for february, where you normally find pisces. Perhaps relevant, perhaps not.

This is probably the key. For example, there's a 14thC Persian Alexander legend where he gets swallowed by a fish: You are not allowed to view links. Register or Login to view.
(the full story is not provided on the wiki but you can find it elsewhere). I bet Alexander is the figure behind these images.

MASLAMA AL-MAYRITI (950–1007) ASTRONOMER AND ASTROLOGER. 11TH-CENTURY BOOK OF PICATRIX ON MAGIC AND ASTROLOGY—MANUSCRIPT 947, FOLIO 33V—GAYAT AL-HAKIM—DRAWING OF A MAN/FISH—14TH-CENTURY COPY

[attachment=16354]

You are not allowed to view links. Register or Login to view.

(05-07-2026, 07:52 PM)bi3mw Wrote: You are not allowed to view links. Register or Login to view.MASLAMA AL-MAYRITI (950–1007) ASTRONOMER AND ASTROLOGER. 11TH-CENTURY BOOK OF PICATRIX ON MAGIC AND ASTROLOGY—MANUSCRIPT 947, FOLIO 33V—GAYAT AL-HAKIM—DRAWING OF A MAN/FISH—14TH-CENTURY COPY



You are not allowed to view links. Register or Login to view.

This is original source:
19226-06-2026, 02:09 PM (This post was last modified: 26-06-2026, 02:11 PM by Radim Dobeš.)

The Medieval Text (Kitāb Dhakhīrat al-Iskandar)The "Book of the Treasure of Alexander" is a medieval Hermetic manuscript. It is falsely attributed to Alexander the Great and his tutor, the philosopher Aristotle.

(04-07-2026, 11:28 AM)Rafal Wrote: You are not allowed to view links. Register or Login to view.Going back to my original question 

Quote:Does anybody know more about these "man swallowed by a fish" Islamic pictures?
Is this a common way in Islamic culture to show the sign of Pisces?
Or does it have another meanings?

Google and other AI seem to lack a good info about it. 
For example in the first answer copied by Radim it says:

Quote:* The Mermaid/Merman Form: The figure is often rendered with a human upper torso (frequently wearing a turban or robes) and a powerful, scaly fish tail from the waist down.

The problem is that these pictures don't depict a merman (male version of mermaid). They depict a standard man swallowed by a fish.
Look closely. The fish has a mouth and an eye. We have two creatures here.


In European iconography the only similar thing I know is prophet Jonah swallowed by a fish. Are these types of pictures related??? Dunno.


So my question remains - what do these Islamic picture actually show?

And I would have additional question for Radim:

In the previous posts you showed supposed similarities between Voynich and Ethiopian art which is Christian. Now you decided to include Islamic protection charms which are actually from another culture. It doesn't blend easily. It is just like Tree of Sefiroth (You are not allowed to view links. Register or Login to view.) appeared in a Christian Bible.

How do you believe, where Voynich Manuscript was created? Ethiopia, Europe or something else? And did they consciously used Muslim imagery?

An answer to your question:
The Voynich manuscript is an attempt to synthesize all the knowledge known to the author regarding the workings of the world and the universe. The manuscript comprises a compilation of Arabic and Islamic religion and esotericism, Egyptian and Coptic religion and esotericism, Ethiopian and Eastern Orthodox religion and esotericism, and more. The author sought to unite all these bodies of knowledge to demonstrate a single, shared divine origin. As a unifying element present in all the aforementioned doctrines and religions, the author utilized fragments—or entire books of Enoch.

Enoch – Metatron (Judaism)
Thoth – (Egypt)
Hermes Trismegistus – (Hermeticism)
Idris – (Islam)
I wrote this text by hand, drawing on six months of research and publishing on *Voynich Ninjas*.

Summary of hypotheses regarding the content and authorship of the Voynich Manuscript (1–6/2026):
Compiled based on information gathered and presented in this thread, including sources and citations. Google and Google AI were used to prepare this summary; however, the outputs were manually verified and edited.

A personality and profile matching the identified fields of study and the geographical origins of the source materials:
(Keywords: Book of Enoch, talismanic art, angelic alphabet, geometric and cosmic order, the unified foundation of the universe)

Athanasius Kircher (1602–1680), a Baroque Jesuit scholar, viewed Arabic esotericism through the prism of Christian Kabbalah and universal mysticism. He linked Arabic and Islamic teachings on secret scripts, magic squares, and mystical letters (known as *ilm al-huruf*) with Egyptian wisdom to demonstrate that all religions share a common divine origin.

His perspective on Arabic mysticism was shaped by the following key concepts:
Islamic science of letters (*Jafr*):
Kircher was deeply interested in how Arabic scholars assigned hidden numerological and magical meanings to letters and words. He studied concepts involving divine names and the creative power of the alphabet.
Magic squares and talismans: He engaged with Arabic numerology and alchemy. He believed that numerical grids (magic squares) transmitted from the Islamic world possessed the actual power to influence natural forces and reflect cosmic harmony. Connection to Egypt: In his seminal work *Oedipus Aegyptiacus* (1652), he sought to decipher Egyptian hieroglyphs. He found references in Arabic texts to secret alphabets which, in his view, represented a transitional stage between the lost wisdom of Adam and Egyptian mysticism.
Kircher took these esoteric traditions seriously as scientific and theological sources, for he himself believed in the possibility of uncovering profound, hidden truths about Creation.

Athanasius Kircher incorporated Ethiopian sources into his research. He viewed Ethiopia as a key bearer of ancient wisdom and Christian mysticism, closely linked to Egypt.
His work with Ethiopian materials involved specific esoteric and linguistic dimensions:
The search for the lost Book of Enoch:
Kircher and his patron, Nicolas-Claude Fabri de Peiresc, were obsessed with finding the Ethiopian text of the Book of Enoch. They regarded this apocryphal work as a crucial esoteric source containing angelic magic and the secrets of creation—knowledge that had been lost in Europe but preserved within the Ethiopian Church.

Connections to Coptic and hieroglyphs:
Kircher correctly understood that Coptic is a direct descendant of ancient Egyptian. Through the ecclesiastical and textual ties between the Coptic and Ethiopian churches, he sought to reconstruct the original Egyptian esoteric doctrine. He considered the Ethiopian language (Ge'ez) to be one of the sacred Oriental languages bearing vestiges of Adamic knowledge.

Note:
I have identified *charaktêres* characters in the Voynich Manuscript. These specific graphic symbols are distinguished by the fact that they possess no linguistic, phonetic, or semantic value (they cannot be read as ordinary letters). Instead, they served as direct visual keys for communicating with spiritual and divine forces.

Kabbalistic comparisons: In his monumental esoteric work *Oedipus Aegyptiacus* (1652), he worked with the Ethiopian script and texts. For instance, he created comparative tables of divine names and talismans in which—alongside Hebrew Kabbalah and Arabic mysticism (*Cabala Saracenica*)—he included Ethiopian variants to demonstrate a universal divine harmony.
For Kircher, Ethiopia (often referred to as Abyssinia in texts of the time) represented a living link between ancient Hermeticism and early Christianity.

Athanasius Kircher deeply integrated Eastern Orthodox and Byzantine sources into his system of universal knowledge. As he had a full command of Greek, Greek patristic texts and Byzantine manuscripts formed the very foundation of his Hermetic theories.

Connection to the Greek Orthodox liturgy:
In Rome, where Kircher was active, he encountered delegations from Greek, Middle Eastern, and Slavic Orthodox backgrounds. He collected their liturgical books and examined inscriptions on Byzantine icons, searching within them for hidden ciphers of divine names.
For Kircher, the Byzantine tradition was not an alien branch of Christianity, but rather a direct, purer line leading to the original ancient and mystical truth—a truth that had partially faded in the Latin West.

He interpreted magical amulets and talismans with deep ambivalence: publicly, he dismissed them as superstitious, yet scientifically, he studied them with fascination as keys to the universal laws of nature. As a Jesuit, he was obliged to issue official warnings against demonic magic; however, as a Baroque scholar, he believed that amulets encoded mathematical and cosmic truths.

His complex interpretation is detailed primarily in the work *Oedipus Aegyptiacus* (1652).

Kircher adopted the Renaissance concept that the entire universe is interconnected by invisible forces (specifically, magnetism and sympathy). In his view, amulets did not function through the intervention of demons; rather, the geometric shapes, metals, and symbols engraved upon them resonated with the energies of the planets and stars. A correctly constructed amulet acted as a kind of "antenna," capturing natural celestial influences.

Kircher examined and meticulously redrew planetary seals (sigils) and talismans (such as the Amulet of Venus and Mars or the Seal of Solomon).

Mathematical purity: He regarded magic squares on amulets—where the sum of the numbers in both rows and columns yields the same result—as a manifestation of divine geometry and the mathematical order of the universe.

Linguistic cipher: He studied heptagonal amulets and the famous *Sigillum Dei Aemeth* (Seal of God’s Truth). He interpreted them, through the lens of Hebrew Kabbalah, as combinations of 72 angelic names reflecting the creative power of the Word of God.

For Kircher, ancient Egypt was the source of all true amulets. He believed that Egyptian priests were able to securely encode pure divine knowledge within hieroglyphs and seals. However, he held that later cultures—including Arab alchemy and Jewish Kabbalah—had corrupted this knowledge. Consequently, he often described the amulets of his own time as "mutilated remnants" of the original, pure theurgy.
While Kircher criticized the popular use of amulets for good luck or protection against disease as a sign of human folly, he viewed the graphic and numerical systems found on the amulets themselves as legitimate scientific diagrams describing the workings of creation.

In his work *Oedipus Aegyptiacus* (1652), Athanasius Kircher presented a detailed engraving titled the *Amulet of Venus and Mars* (*Amuletum Veneris et Martis*). He interpreted it as a perfect microcosmic apparatus that, through mathematical, geometric, and astrological symbols, demonstrates cosmic harmony and the union of opposites.

Kircher viewed this specific talisman through the following layers:

1. The union of opposites and harmonization (Conjunction)
Traditional Renaissance magic understood Venus and Mars as absolute opposites: Mars represented war, destruction, and anger, while Venus represented love, fertility, and peace. Kircher interpreted the combination of these two archetypes into a single amulet as a tool for harmonization. According to him, the amulet's geometric structure could harness the destructive, aggressive energy of Mars and subject it to the creative, unifying power of Venus. The Latin inscription on the amulet aptly summarizes the entire concept: "Vinculum quippe vinculorum amor est" (Love is, indeed, the bond of all bonds).

2. Geometric structure (Heptagram and Sigillum Dei)
Visually, the amulet is based on a medieval structure known as the *Sigillum Dei* (Seal of God). However, Kircher subjected it to his own scientific-mystical analysis:
It employs a seven-pointed star (heptagram), reflecting the seven planets known at the time.
Kircher interpreted the geometric networks within the amulet as a mathematical expression of the "magnetic" forces of sympathy through which the planets exert influence upon the Earth and the human body. The shapes are not merely decorative but serve as pathways for the flow of celestial influence.

3. Kabbalistic ciphers and Divine names
Hebrew characters, astrological planetary symbols, and the names of angels or intelligences are inscribed within the individual fields and points of the star. Kircher believed that:
These names and symbols function as a linguistic encoding of cosmic laws. The correct combination of letters unlocks the hidden power of creation, for according to Christian Kabbalah, the entire universe was created through the Word and number.

4. Scientific reduction: Natural magnetism, not demons
A crucial part of Kircher’s interpretation was clearing the amulet of accusations of sorcery. He argued that if the amulet possessed any genuine protective or healing effect, it was due to purely natural magic (*magia naturalis*). According to him, metals (e.g., copper for Venus, iron for Mars) and engraved symbols interacted with astral fluids much like a magnet attracts iron filings. Thus, the amulet did not function through the summoning of demons, but rather as an active physical radiator of the cosmic order.

Note:
I have found further talismanic traces in the Voynich manuscript: Arabic and Ethiopian. Given that I am discovering additional connections, I will continue to pursue this line of inquiry.

Citations for this summary are provided in previous threads.

Further examples of the stylized depiction of plants as protective talismans. In the Ethiopian *asmāt* system, the patterns resemble stems, roots, and leaves; however, they possess geometric, symbolic, and spiritual significance, representing various spirals, eyes, and loops.

You are not allowed to view links. Register or Login to view.
Prayers; Magical texts
EMML 1587
EMIP MS 00080
EMIP MS 00869