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+--- Thread: No text, but a visual code (/thread-2384.html)
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RE: No text, but a visual code - chrisj - 15-03-2026
There may be a way to still test this, if it's true, and if a potential theory is that it's word replacement instead of character replacement. It could potentially be that CURRIER A pages translate into one langauge and CURRIER B apges trnaslate into another. This could then still allow for the "Voynichese" to potentially translate similar styled words to th e same voynichese words but allow for what Curirer found and have diffrent fequeneices of character gylphs apear in "A" dedciated pages and "B" dedicated pages.
In fact if it was a langauge similair to another lanagueg like Italian/Latin/ for example, this could potentially explain this!?
RE: No text, but a visual code - Antonio García Jiménez - 15-03-2026
Anyone can enter this forum and share their theories about the Voynich, but please do so in your own thread.
I'm repeating my previous post because I don't want it to go unnoticed and because I'm sure there will be those who will reflect on it:
In the Voynich script there are e, ee, eee, eeee, and also ch, sh, s and also the pedestal gallows with the same shape underneath.
It seems that whoever designed the glyphs had little imagination or, on the contrary, repeated shapes because they were following a clear idea in their mind. If the prejudice of searching for a language in the Voynich did not exist, and its important astrological content were taken into account, it would be clear that what the designer of those glyphs had in mind was the path of the moon and its different positions in its orbit, in its journey along the ecliptic.
The benches are two joined e because they represent the moon's position in major astrological aspects, one for each hemisphere. And in the pedestal gallows, the moon is below the sun.
RE: No text, but a visual code - Antonio García Jiménez - 17-03-2026
Glyph transliteration systems are useful for compiling statistics, but they are also a trap because they distance us from the materiality of the manuscript, from the genuine form of the glyphs. In the Voynich script, there are more than one hundred rare or special characters that are not usually taken into account.
An example of what I'm saying is sh
I have to type the characters (sh) to get the glyph, but what appears is a pale reflection of reality. The transliteration has only taken into account one of the various ways in which this glyph appears with the plume above it. In reality, there can be up to five ways in which that plume appears.
Since I believe the writing system is actually a visual system invented by the authors of the Voynich Manuscripts, this graphic system explains both this and many other unusual or special symbols we see. It's an attempt to represent celestial objects and their movements in the sky with symbols.
In the case of sh, the aim is to differentiate it from its counterpart ch, and what it can represent is the movement of the moon, hence the plume changes position and runs along the bench.
RE: No text, but a visual code - Antonio García Jiménez - 21-03-2026
I don't think many people realize how important it is to define the subject of this book. The subject is, of course, astrology, and although it might seem like there could be others, there aren't.
When people say astrology, they immediately start thinking about human astrology, the most widespread form. But this book isn't about that; it's about what could be called natural astrology. The herbs, about which we know nothing, are not the subject of the Voynich. They have been drawn in relation to the rest of the book, to serve as an example of the power of celestial influences.
That this is an astrological book is not an opinion I hold, but a certainty. I have no doubt whatsoever. Only after reaching this conclusion did I realize that the shapes of the glyphs served the same purpose.
RE: No text, but a visual code - Antonio García Jiménez - 30-03-2026
When one looks at the female figures of the Voynich zodiac, one immediately sees that except for the first three signs, where the figures are inside tubes, in the others the author has drawn them walking. That they are walking seems undeniable, given that practically all of them have one leg in front of the other, giving the impression of movement. It is always the left leg that is forward, which allows the artist to draw the figures more clearly.
The important thing is that they all walk in the same direction, clockwise, from East to West, which is where the stars set in the northern hemisphere, where the codex was made.This makes sense given that all the figures carry a star. But it is the female figures of each constellation themselves that move, because they are the stars. And they carry a star in their hand to tell those who see them: Look at me, I am a star. It may look and sound childish, but that's how medieval iconography works.
RE: No text, but a visual code - Bluetoes101 - 30-03-2026
I've wondered/speculated about the barrels to no barrels transition. I've seen manuscripts address women in labour/child birth and show the new born baby in a barrel of water next to the bed and it has made me wonder if this is the same representation being used, the figures are "born" and then progress from there.
The meaning could be, but doesn't have to be very revealing or meaningful. It might just be that a new year is ""born" and then progress from there.", or any number of things. Anyway, I've wondered if these barrels represent birth/new etc.
Just some food for thought I guess.
RE: No text, but a visual code - Antonio García Jiménez - 31-03-2026
The female figures are not in barrels, but in tubes. These are the tubes we later see in quire 13. Here, in the zodiac, they are at the beginning of the tubes. This is so fundamental that until it is understood, I don't think the Voynich will be understood. There are no women. In the codex we see female figures, but they are not women. They are a representation of the fixed stars of the sky.
In my previous post, I mentioned that when we see female figures holding a star, they are meant to show that they themselves are the stars. This iconographic device was widely used in the Middle Ages. If in the first zodiac signs (Pisces, Aries, and Taurus) we see female figures in tubes, but in the other signs we don't, it's very likely related to the birth and growth of herbs. It's a way of indicating the importance of the stars in those constellations for the herbs.
The Voynich is an astrological book that shows the power of celestial influences on nature. I see many people concerned about the mysterious script of the codex, but really the only way we can learn anything about this book is by understanding its iconography.
RE: No text, but a visual code - Antonio García Jiménez - 05-04-2026
I said before that the female figures were not inside barrels but tubes, at the beginning of the tubes that, starting from the sphere of the fixed stars, travel through the medieval universe until reaching Earth. The medieval mindset conceived of the universe as an onion of superimposed layers, of solid crystalline spheres that light had to pass through. That's why we see the tubes. For the authors of the Voynich, it was the way light could travel.
On folio f78r, we clearly see these tubes and the fluid flowing through them, which originates from these strange structures symbolizing the sphere of the fixed stars. The structure is shown twice to suggest that the light comes from different parts of the sky. Beneath the tubes, we see a group of female figures, and further down, we see them again. It's not that the fluid is falling on them; they are the fluid, they are the representation of starlight. We see how the blue fluid of the sky has turned green, in what seems to be a metaphor for how light gives plants their green color.
This is how the medieval mindset works and how abstract concepts are represented through images.
RE: No text, but a visual code - Antonio García Jiménez - 09-04-2026
I've spent years trying to convince people that there's no biological or balneological section in the Voynich. That it's just an illusion, because the hundreds of female figures we see are simply anthropomorphic representations of the zodiacal stars. It is the same iconographic resource used in the codex with the sun and the moon, drawn with human faces.
Looking at Quire 13 it is difficult to reach that conclusion, but the female figures we see here are the same ones we see on the zodiacal pages, where the fact that each one carries a star in her hand is a powerful indication, given that the figures form a constellation in the sky.
We see some zodiac signs like Pisces and Scorpio also holding stars. No one will think that they are two fish and a scorpion playing with stars. Everyone understands that they are representations of constellations in the sky. The same is true of the Virgo constellation, which also holds a star. But in this case, it's a figure that, apart from the dress, has the same features as the female figures surrounding it. When we see Virgo, we see a clothed woman, but no one would guess she's a real woman.
The female zodiac figures occupy 30 degrees of each sign, but they hold stars to represent that each of those degrees is occupied by a star in the celestial sphere. They are not real women either.
RE: No text, but a visual code - Antonio García Jiménez - 13-04-2026
I've posted this image of a 15th-century manuscript with the Pleiades before, but I think it's worth posting it again.
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We see seven women with a star above their heads. This image is similar to that of the female figures in the Voynich zodiac, who, instead of wearing the star above their heads, hold it in their hands. Naturally, in both cases, the women are the stars.