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| Templars as creators of the Voynich Manuscript (folio 1r) |
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Posted by: Gregor - 30-04-2025, 11:10 AM - Forum: Imagery
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This above statement of mine, contained in the title of this entry, may seem very difficult, even impossible to prove. But this is only an appearance.
Those of those who have any, even the smallest, knowledge about these two elements: (Templars - who, and the Manuscript - what), after reading the title of this entry, may deny it a priori, because the basic condition of the coincidence of the duration of this Order with the time of the creation of the Voynich Manuscript is not met. As is commonly known, the Order was suspended in 1312 and then dissolved in 1314, while the parchment's date of creation using isotope dating is considered to be between 1404 and 1438.
All well and good, but the history of the Order does not end with the burning of Grand Master Jacques de Molay at the stake - their knowledge and methods of camouflage survived in other places, previously prepared for the hoarding of their achievements.
In order to prove the main thesis of my claim: about the agency of the Poor Knights of Christ in the compilation of this hitherto unsolved artifact, it will be necessary to correctly interpret the graphic image of Abraxas, which appears on the seal of the Grand Master of the Templars on a French document dated 1214.
"The word Abraxas (or Abrasax or Abracax) was inscribed on certain ancient stones, called Abraxas stones, which were used as amulets or talismans by Gnostic sects. The image most commonly associated with Abraxas is that of a composite creature with the head of a rooster, the body of a man, and legs made of snakes or scorpions; carrying a whip and shield. The Gnostics identified Abraxas with Yahweh (under the Greek form "IAO"). Amulets and seals depicting the figure of Abraxas were popular in the 2nd century, and these stones survive in medieval treasuries. Abraxas appears on the seal of the Grand Master of the Knights Templar on a French document dated 1214..."
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![[Image: Abraxas_Artistic_representationi.jpg]](https://upload.wikimedia.org/wikipedia/commons/2/24/Abraxas_Artistic_representationi.jpg)
"Abraxas (Biblical Greek: ἀβραξάς , romanized: abraxas, variant form ἀβράναξ romanized: abranax) is a word of mystical meaning in the system of the Gnostic Basilides, applied there to the "Great Archon" (megas archōn), princeps of the 365 spheres (ouranoi). The word is found in Gnostic texts such as The Holy Book of the Great Invisible Spirit , and also appears in the Greek Magical Papyri. It was engraved on some ancient gemstones, therefore called Abraxas stones, which were used as amulets or charms. Since the original spelling on the stones was Abrasax (Αβρασαξ ), the spelling of the name Abraxas that we see today probably has its origin in a confusion of the Greek letters sigma (Σ) and xi (Ξ) in the Latin transcription."
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[/url]![[Image: abraxas_14282_lg.gif]](https://glorian.org/images/stories/symbols/abraxas_14282_lg.gif)
The most important meaning of this word, as well as the graphic symbol of Abraxas - is the drawing itself. It only needs to be interpreted correctly.
![[Image: 495125376_1286739246789902_4717704721572...e=6817B642]](https://scontent-ham3-1.xx.fbcdn.net/v/t39.30808-6/495125376_1286739246789902_4717704721572479162_n.jpg?_nc_cat=101&ccb=1-7&_nc_sid=127cfc&_nc_ohc=8Me9KKeavkAQ7kNvwH4JXqU&_nc_oc=AdlCninWhl2EkwdLAyirxQrCBj4N37Fom5x-UMfj2TSkNmg9GL4KAF2Mjr7DCrPaygA&_nc_zt=23&_nc_ht=scontent-ham3-1.xx&_nc_gid=-xkCU1-xiPeWQ2TDOQgyzA&oh=00_AfFArhSeCj-Ozxx5PY0B85DhwCGjib90kpSb_MI3lTgjbw&oe=6817B642)
Starting from the bottom of this encoded in the schematic drawing, the individual stages of the creation and collapse of the universe should be specified:
1. Legs made of snakes - their spreading shape encodes information about the first inflationary stage of the universe just after the Big Bang.
2. Above you can see the covering of intimate parts of the body - its shape is to symbolize the spatial distribution of the relic radiation, i.e. the Microwave Background Radiation.
3. The body and widely spread arms - in the intention of the creators of this code are all the subsequent stages of the development of matter and energy of the universe (the formation of galaxies, solar systems, planets...) In one hand Abraxas holds a whip, while in the other something that resembles a shield - to me it is more associated with the evolutionary nature of the creation of Life on Earth. Let me remind you that the body of this creature has the body of a human.
4. The rooster head of Abraxas also has its "rational" explanation. The crowing of the rooster symbolizes the beginning of something new - a new day. It is a time for change, but also as in Judaism: the crowing of roosters is a sign of revelation that comes from heaven. And so: the collapse of the universe is a change and a fundamental one, it is also a "revelation" that will come and irrevocably from heaven. The wavy shape of the crown of the rooster's head - is the final end of the current universe, after which "soon" after the next Big Bang it will evolve anew.
And this, and no other, is the encoded meaning of the Abraxas ideogram on the seal of the Grand Master of the Templars – it provides information about the cyclical nature of the formation and collapse of the Universe.
![[Image: 495053948_1286742536789573_6271473911105...e=6817E0E9]](https://scontent-ham3-1.xx.fbcdn.net/v/t39.30808-6/495053948_1286742536789573_6271473911105115072_n.jpg?_nc_cat=105&ccb=1-7&_nc_sid=127cfc&_nc_ohc=O6blf5oaLjsQ7kNvwECVbOV&_nc_oc=AdlxuE8QbJW63gYnbuXk35QsriVcNRK0X9Na6iXV5Y60joLUF_oMYmwwUG6zQb-SXPE&_nc_zt=23&_nc_ht=scontent-ham3-1.xx&_nc_gid=O07jbKKKX_1sb5nFWGrDGg&oh=00_AfG0Qty0gGhdfyIIvV9kApmsG-hBicgUtuYlASy5i-fe7g&oe=6817E0E9)
![[Image: 494490053_1286743963456097_5440783030841...e=6817C359]](https://scontent-ham3-1.xx.fbcdn.net/v/t39.30808-6/494490053_1286743963456097_5440783030841703669_n.jpg?_nc_cat=111&ccb=1-7&_nc_sid=127cfc&_nc_ohc=8LvAywNWl8AQ7kNvwGoWIvC&_nc_oc=AdmXhVufa4ksM4NdGw4Gnf4S0N3GwaXbqIkhPYTudeGufBwMeMvGoiOt3dkcNsL8txY&_nc_zt=23&_nc_ht=scontent-ham3-1.xx&_nc_gid=XooFxNiy2G2RLuKniESelA&oh=00_AfF1AE_yzkKJOYY7yDO92f7P6MIITP61rBDqpskZ0KZquw&oe=6817C359)
At this point, the question arises – what is the connection between the shape of the Abraxas ideogram and folio 1r of the Voynich Manuscript? Well, it has a cardinal meaning. If we were to modify the shape of the two most important elements of folio 1r in a way that is consistent with the intentions of the creators of this Manuscript – the two signs on this folio – in a way that is correct and consistent with the intentions of the creators of this Manuscript, then their entire secret will reveal to us the wealth of symbolism hidden from the profane.
To find out, we need to combine both signs into a whole – with the first element placed at the bottom in the opposite position, while the second one should be placed at the top. Thanks to this procedure, we will see a figure similar in shape to Abraxas – its meaning is also identical. And therein lies the whole secret of folio 1r.
![[Image: 494266611_1285296766934150_9123155076724...e=6817AC3E]](https://scontent-ham3-1.xx.fbcdn.net/v/t39.30808-6/494266611_1285296766934150_9123155076724090410_n.jpg?_nc_cat=103&ccb=1-7&_nc_sid=127cfc&_nc_ohc=UUrprMi8PTMQ7kNvwHLSr-P&_nc_oc=AdmewPEAj1p2ryAObyVrQUOdxzzFIOIyjFe4AM8-qSjNao5KTkUy2uKc2uvvfoO9Grk&_nc_zt=23&_nc_ht=scontent-ham3-1.xx&_nc_gid=VIDQHe5P9yCdphwhxoIIFQ&oh=00_AfFY8tbu9NBw1Wk5_59hnBrLDcB7ia1kPk2XHmteQMipEQ&oe=6817AC3E)
"The magic word "Ablanathanalba", which in Greek is read the same backwards as forwards, also occurs on the Abraxas stones as well as on the magic papyri. This word is usually considered to come from Hebrew (Aramaic) and means "You are our father" (אב לן את), and also occurs in reference to Abraxas; the following inscription is found on a metal plate in the Karlsruhe Museum:
АВРАΣАΞ
ΑΒΛΑΝΑΘ
ΑΝΑΛΒΑ"
[url=https://en.wikipedia.org/wiki/Abraxas]https://en.wikipedia.org/wiki/Abraxas
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| Proposition intuitive. |
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Posted by: Keriast - 30-04-2025, 06:11 AM - Forum: Theories & Solutions
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Une idée fugace sur le manuscrit de Voynich, posée là.
Pas une théorie béton, juste une sensation qui m’a traversé.
Et si ce bouquin… n’était pas fait pour être "lu", ni traduit, mais juste ressenti ?
J’ai repensé à ce que je ressens parfois quand je fais une petite création perso :
la feuille entière prend un sens, même les trucs involontaires — une tache, une pliure, l’odeur du papier…
Et ça m’a frappé : et si le Voynich, c’était pareil ?
Pas un langage avec des règles, mais une espèce de langage émotionnel, où chaque mot serait comme un son intérieur, une humeur.
Les lettres qui changent dans les mots, ce serait pas des erreurs ou des codes, mais des modulations sensibles : intensité, nuance, tension, douceur…
Les dessins aussi : ils font un peu test de Rorschach. Tu les regardes, et tu projettes quelque chose sans que ce soit clairement défini.
Ils t’orientent vers une émotion, une ambiance. Comme si le sens venait de toi, pas du livre.
Et tout ça, mis ensemble, ferait un truc presque synesthésique :
une lecture qui n’est pas dans les mots, mais dans les ressentis.
Comme une partition mentale que chacun joue différemment.
Et c’est peut-être pour ça qu’on n’arrive pas à le reproduire, ni à le décrypter.
Parce qu’il n’existe qu’à l’instant de sa création, à travers la personne qui l’a écrit, dans son état d’âme du moment.
C’est pas un message universel. C’est un instant unique, devenu objet.
Voilà. Une intuition, sans prétention.
Je la balance là comme elle m’est venue.
Bonne journée à tous.
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| Linguistic Patterns Before Decipherment: A Key to Understanding Unknown Texts |
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Posted by: Urtx13 - 29-04-2025, 12:32 AM - Forum: Analysis of the text
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One of the significant challenges in working with unknown or undeciphered manuscripts, such as the VMS, is the temptation to immediately “decode” them by matching words, tokens, or glyphs to a known language through direct translation attempts.
However, I would like to reflect on the history of linguistic and philological studies. One lesson stands out clearly: understanding the internal structure of a language often precedes and enables successful translation, rather than being a consequence of it.
(This principle is not only historical but also literary)
I like the example of J.R.R. Tolkien: when he created his Elvish languages (Quenya, Sindarin, etc.), he built them from the inside out. Tolkien first designed phonological patterns, rhythms, internal grammars, and aesthetic structures before assigning stable translations to words. He understood that a credible language must have internal consistency and recognizable patterns, even if its dictionary is initially unknown. Without internal structure, a language feels artificial and cannot sustain meaning over time.
Similarly, even modern English, which seems globally dominant, will eventually fragment if left unchecked for a long time. Its internal rhythms, syntax, and patterns of use (formal, informal, poetic, administrative) will be essential clues for future scholars attempting to reconstruct it, should direct transmission of meaning be lost. Globalization has slowed geographic divergence, but internal linguistic evolution is unstoppable, just as Latin diversified into the Romance languages over centuries.
Why is this important for the VMS?
Because even without a direct decipherment, identifying structural patterns — whether in vocabulary frequency, thematic clustering, or phase-based rhythms — can offer us a way to understand how the text was composed. It can reveal whether it behaves like natural language, liturgical formula, mnemonic code, or something entirely different.
Just like Tolkien’s Elvish languages were immediately recognizable as coherent systems (even without knowing what every word meant), the Voynich Manuscript might reveal its internal organization independently of translation. Recognizing these structures is not just speculative: it follows the path historically used to decipher other ancient texts.
In short:
Suppose we can detect rhythm, structure, and phases in the Voynich Manuscript, even without complete translation. In that case, we are engaging with it in the most historically grounded and linguistically rigorous way possible.
What are your thoughts?
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| Handwriting of the Codex Seraphinianus |
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Posted by: RadioFM - 28-04-2025, 04:17 PM - Forum: Codicology and Paleography
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Has anybody with some expertise on the matter ever taken a look at the handwriting and calligraphy of the Codex Seraphinianus and analyzed it?
That kind of analysis has been done on the VMS, describing some of the handwriting as slanted and fast/fluid (at least w/ some hands) AFAIK, which has had some impact on the cipher question IMO.
I'd love to hear your (all) thoughts on the hwriting of the C.S., either as a whole or how it evolves over the pages.
I know this is not medievalia, but it seemed the proper subforum to post in given the common theme of handwriting style underlying the question. Feel free to move it mods
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| "Abnormal" words |
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Posted by: stopsquark - 28-04-2025, 08:16 AM - Forum: Analysis of the text
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While I'm aware that we don't know what the grammatical rules are for Voynichese, we have some general sense of how common certain character combinations are- for instance, a minim sequence is almost never found at the start of a word, consecutive benched gallows are fairly uncommon, etc. I'm curious about how many words we can find that apparently violate the conventions of the system.
One that I can think of off the top of my head- in the Rosettes map on You are not allowed to view links. Register or Login to view. , the center of the upper-leftmost path contains the word "ddssSex" in EVA. This is one of very few places in the MS that we see an x, a doubled s, OR a doubled d. What other rare word-forms like this exist? Bonus points if they're robust to transcription choices- i.e., if no matter how you interpret ambiguous letterforms, the words incorporate characters or strings that are uncommon.
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