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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 - Antonio García Jiménez - 22-05-2023
It is a codex from the British library: Yates Thompson 31. It is dated to the end of the 14th century.
An image of the four seasons in this book is similar to a page from the Voynich
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RE: No text, but a visual code - bi3mw - 22-05-2023
The crucial difference between f85r2 and f72 ( diagram of the seasons ) is that the four figures in the VMS individually represent something. They usually hold something in their hands or make a gesture. Each of the figures seems to have an individual statement. In f72, the figures uniformly touch the circle. The informational content is only in the text within the circle and in the lettering on the figures. The figures themselves seem to have only a decorative purpose ( representation of the four seasons ) , so that their statement is limited to a purely creative element.
RE: No text, but a visual code - Aga Tentakulus - 22-05-2023
It's not just these 2. If you look closely, there's also something on f86v4.
I think it was Nick where once drew attention to it. But it was years ago.
And I think s is not only about seasons. there is also something else.
RE: No text, but a visual code - Antonio García Jiménez - 22-05-2023
I think that it is not very important if we cannot interpret a specific page of the Voynich, as is the case of the last images that we have posted. The real challenge is to interpret the work as a whole, and for this, more than pages, there are sections that are key.
I have already said many times what is my interpretation of Quire 13, which is related to the zodiacal section, since it deals with the same female figures. For me this is the key that opens the door to a correct interpretation of the book.
RE: No text, but a visual code - Antonio García Jiménez - 28-05-2023
The Voynich is a product created in a monastery or a university. Any other origin seems doubtful to me. This idea is reinforced by the youthful character of its images and the imagination used in its composition, both the script and the iconography.
At that time there were medicinal botanical gardens in monasteries and universities, and it is clear that the Voynich authors were familiar with herbs. It also seems clear to me that their intention was not to reproduce the herbs as they saw them but to create new ones. It should not be forgotten that grafts were already performed at the time.
The book is the work of more than one person, hence it seems that there are two languages (Currier A and Currier B) that is nothing more than two ways of interpreting a flexible code, a script in which the game is combined with the culture astrology of the time.
RE: No text, but a visual code - bi3mw - 28-05-2023
(28-05-2023, 01:37 PM)Antonio García Jiménez Wrote: You are not allowed to view links. Register or Login to view. It also seems clear to me that their intention was not to reproduce the herbs as they saw them but to create new ones.
They could be stylized plants. See this thread (Astrological Botany):
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Quote:Wikipedia
The Doctrine of signatures was already widely used in antiquity, including in ancient China, and was already widespread in a prototypical form as a way of thinking in the late Middle Ages.
RE: No text, but a visual code - Antonio García Jiménez - 29-05-2023
Astrological Botany is part of a medieval knowledge that starts in the authors of antiquity. It is the cultural substratum of the Voynich, but this book is very different from all the others.
What is new in this book is that the authors are not interested in identifying the plants, either visually or in writing. In my opinion the authors have invented the herbs and, since it is impossible to talk about them because there is nothing to say, they have also invented a script to simulate a speech.
It looks like a game, but a game that has a foundation in the astrological culture of the time, and that is why the cosmological and zodiacal diagrams occupy so much space in the book.
RE: No text, but a visual code - Antonio García Jiménez - 04-06-2023
It has been said that some glyphs in the Voynich script could be numbers. I believe that two of them are numbers, 4 and 8, and I am going to explain why. The shape of the 8 is easily recognizable. Not so that of 4, which is in the form in which it was written in the fifteenth century.
These numbers are in the MV because they correspond to the hours of light and darkness at the solstices, the summer and winter solstices. We are going to see the proof of this in a very common instrument of the time, a volvelle.
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If you look closely at the volvelle you will see that internally there is a circle of points limited by two crosses that mark the solstices. Above and below the points are written the numbers 4,5,6,7 and 8 that run on each side of the crosses in reverse order.
These numbers mark the hours of light and darkness in each month or zodiac sign. The ones that interest us here are 8 and 4. Both numbers are repeated on each side of the cross that marks the summer and winter solstices.
To make it clear: in summer the numbers 8 and 4 are over Geminis and Cancer. 8+8 are 16 and 4+4 are 8. In other words, 16 hours of light and 8 hours of darkness in those months.
These light and dark figures correspond approximately to the latitude of the place where the Voynich was made, a place in northern Italy or Central Europe.
RE: No text, but a visual code - Antonio García Jiménez - 07-06-2023
I honestly believe that the summer solstice has to be present in the Voynich. Not only because it is a special astronomical position and it is a book with a large number of astronomical diagrams. But because it is also a book with what we can undoubtedly call magical herbs. And the relationship between the summer solstice and magical herbs is something so ingrained since ancient times that this belief has survived to this day.
This belief has an empirical basis, since it is the period of greatest sunlight and therefore the greatest growth of the active ingredients of medicinal herbs.
RE: No text, but a visual code - Antonio García Jiménez - 10-06-2023
We live surrounded by artificial light and we do not realize the importance that natural light had in those days. In the Northern Hemisphere, now that it is spring and we are approaching the solstice, we see how light is gaining time over darkness. Light is vital for plants, which is why perhaps the signs of Aries and Taurus are repeated in the Voynich, to underline the idea of their importance in the plant cycle.
Does anyone think there may be another reason?