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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 - 09-03-2024
I greatly respect Lisa Fagin Davis' opinions but I disagree with her regarding the linguistic nature of the script. Nor do I think that more powerful computers will help solve this enigma. For me the VM is more than anything an epistemological problem. I mean that the way of approaching it cannot be the way of knowing of the 21st century but rather that of the 15th century.
This is easy to say but not easy to do. How do I make my mind be that of a medieval man, that my belief in astrology, in the power of the stars, is as common and natural as it was for them?
Within this mental scheme a solution like the one I give is possible. That is, a script of astronomical symbols to reflect the creation of new or never seen herbs or plants that receive their medicinal virtues from astral influences. This theory allows the entire book to be coherent.
RE: No text, but a visual code - Hermes777 - 10-03-2024
I'm glad you are keeping the non-linguistic cause alive on this thread Antonio.
You are not allowed to view links. Register or Login to view. is a simple dummy attempt to explore how a non-linguistic, astronomical text could still be meaningful and convey information:
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RE: No text, but a visual code - Antonio García Jiménez - 13-03-2024
The glyph [c] is to me the most obvious sign that the script is iconic in nature. This glyph is the representation of the Moon from ancient times.
And if there is any doubt about this, and I understand that there is, I recommend reflecting on why the author repeats this glyph so much, being one of the most common strokes in the script.
My interpretation would not make sense if we only had plants in the book, but there are numerous astronomical-astrological pages and the Moon is present in quite a few of them.
RE: No text, but a visual code - Antonio García Jiménez - 17-03-2024
We cannot get into the mind of the author of the script to know why he chose that set of glyphs, but we can speculate about the reasons that led him to choose the glyphs with that particular design.
The simple fact that the author chose this sequence [c] [cc] [ccc] is thought-provoking, as is this other sequence [\] [\\] [\\\].
Since I do not believe that the script is a linguistic system, I am reluctant to use any transliteration, but I want to point out that the glyph transliterated as the letter [i] is actually an oblique, inclined line, just as I have put it. And this is of great importance to try to understand why the author chose it with that shape.
In my opinion the author of the script had in mind the markings of the degrees on a sphere.
RE: No text, but a visual code - ReneZ - 18-03-2024
Let me put up a counter-argument, just for the sake of the argument.
Why did the author choose to use rows of c-shapes: [c] [cc] [ccc]
but not their mirror image?
One possible reason is that [c] appears in Western alphabets, but the mirror image does not.
Now it does not even matter whether I believe this or not, but I would say that it is a reasonable argument.
RE: No text, but a visual code - Antonio García Jiménez - 18-03-2024
Yes, what you say is a reasonable argument.
I believe that the c-shapes are the symbol of the moon and the representation of its movement, and it is a symbol that by the time of Voynich must have already been fixed. The logical thing is that, taking into account the phases of the moon, the author also represented the mirror image, but perhaps, as you say, the letter c of the alphabet influenced the setting of the symbol.
In any case, in the Voynich we can see an image in which the symbol of the moon, always with the same shape, surrounds the personified face of the moon
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RE: No text, but a visual code - Antonio García Jiménez - 23-03-2024
There are contemporary parallels to the Voynich illustrations. Not exact, but close enough to make reasonable claims.
For example, this image
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They are the seven known medieval planets (Do not forget that the sun and the moon were also considered
planets).The planets are personified. They are human figures and they all hold a star to symbolize their nature.
The parallelism with the zodiacal pages of the VM is clear. In Voynich we also see human figures holding stars. In this case the figures represent the fixed stars.
RE: No text, but a visual code - Ruby Novacna - 23-03-2024
Thank you, Antonio, for this image with the text, it is very informative.
There is a funny way of writing the letter m here, without knowing the content, I was never supposed to understand. In addition "m'curi" pushes me to revisit all the words with EVA sh.
P.S. I didn't see a Venus star.
RE: No text, but a visual code - Antonio García Jiménez - 23-03-2024
It is true that in the image the only planetary figure without a star is Venus. It must be because of the way the artist represents Venus. She is seen swimming in the water, which alludes to classical mythology: Venus was born from sea foam and swam to Cytherea. Botticelli depicted her on a seashell in his famous painting.
RE: No text, but a visual code - Antonio García Jiménez - 25-03-2024
Here you see the same image from before more enlarged
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It is seen how five of the planets hold a star with one hand, in a position similar to the one we see in the zodiacal pages of the VM.
Something very curious is the fact that the Sun is personified as a female figure. I do not know if it is because in Occitan, the language of the manuscript, Sol is a feminine name, or it is represented this way because Planet was a feminine name.