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Text
knitted patterns.
Komi Calendar Passes Georgy Lytkin wrote about the difference between the two types of writing in the 19th century: “Zyryan passes never had the meaning of letters, they cannot convey what the Egyptian hieroglyphs conveyed. No approach can be made between passes and stefanovsky letters.” Unlike the Komi passes collected in the 19th-20th centuries, TAMGA-LIKE GRAFFITI ON ARCHAEOLOGICAL FINDS belong to the 12th-14th centuries. They are undoubtedly the oldest of such signs. http://foto11.com/komi/docs/komipas.php STEPAN KHRAP OF PERM (ST. STEPHEN) is said to have created Old Permic script for the Komi language in 1372. Actually, all he did was employ a script already well known to him. His grandfather, an educated Komi merchant Dzebas, often climbed up Vychegda and Vym in his trade affairs. It was then that he would have seen for the first time the Komi letters that Zyryan merchants used in trade. http://www.komi.com/mc/arhiv/new001.htmStephan of Perm
This occurred a century before the creation of the Voynich manuscript (according to carbon dating), and roughly two centuries before Agricola and his writing system. Not until the 17th century was Old Permic, aka ABUR, superseded by the Cyrillic script from which it was loosely adapted. I say "loosely" because Old Permic is called a "highly idiosyncratic adaptation" of Cyrillic and Greek, with Komi "Tamga" signs. Interestingly, since not many persons knew it, Old Permic was also used as cryptographic writing for the Russian language. Could the Voynich manuscript use the Komi's two writing systems, the Tamga system for f66v and f57r and for the rest of the text the more formal writing system employed by the Komi to send letters to trading partners like the Bulgar king? Let's take a look at Old Permic script, especially Old Permic cursive, and compare it against the script in the Voynich manuscript used for what appear to be 1) a list of rune charms and 2) a calendar. Pronounced correspondences occur on two pages, one possibly listingrunic charms
and the other on what appears to be a seasonal calendar. The rest of the manuscript appears to employ, however strangely, more of a Latin script. The characters which appear similar to Old Permic are not used throughout the manuscript but rather in special, isolated places, as if they were runes or numerals. They in fact do have quite a few correspondences with Tamgas, those used in Finno-Ugric culture. Calendar and Seasonal Year Here is a comparison between Voynichese, Hungarian Tamga-like symbols, and the Old Permic writing system.~
~
~
~
~
~
~
~
If the Voynich manuscript has been influenced by an obsolete script from the Perm Krai, and if its folios contain words from inhabitants of the Perm Krai, then perhaps there are extant records of FOLK SONGS that would bear resemblance to the frequently repeated words in theVoynich manuscript.
So then, we have this: One striking correspondence is that the above wedding tune from the Vatka Komi in the Krov district, uses the letters that, if my transcription is fairly accurate, are found in abundance in the Voynich manuscript: a, u, o, i, e, s, p, t, k, m, and l. In addition, it repeats small two-letter words: oi, pe, ok, and uk. Other correspondences exist regarding Komi mythology, folk costume,and lore.
POWER OVER WATER
MYTHIC FOCUS ON WOMEN ZARNI AŃ (GOLDEN WOMAN) was the supreme goddess of the Zyrianpeople (Komi).
"In the mythologies of Uralic peoples, a woman is seen as the ruler of life and death and the southern and northern direction of the corresponding air directions," says Academy Professor Anna-Leena Siikala." The gods of the shamans are the gods of nature DEPICTIONS OF FEMALE SUNS PÄIVÄTÄR ('MAIDEN OF THE SUN'), is the goddess of the Sun inFinnish mythology
.
Described as a great beauty, she owns the silver of the Sun, spins silver yarns, and weaves clothes out of them. In Kalevala, young maidens ask Päivätär to give them some of her silver jewelry andclothes.
Professor Anna-Leena Siikala finds it possible that Päivätär was a goddess who ruled over life and light. During Christian period, she was replaced by Virgin Mary. Below is a contemporary depiction of Päivätär by sculptor Kaarina Kuusisto-Lukkari.
Above, Komi female sun SYMBOLS OF SPINNING AND WEAVING Not only was Päivätär a goddess—she was the goddess of spinning,
and her sister, Kuutar, goddess of the moon, was in charge of weaving.
Komi Women
CONCLUSION
Thus, we find shared nuances in script, mythology, and symbolism between the Voynich manuscript and Uralic culture, especially among the people of the Perm Krai. Posted by Claudette Cohenat 11:37 AM
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SUNDAY, JANUARY 14, 2018 30 KEYS TO THE VOYNICH MANUSCRIPT THE RESEARCH OUTLINED BELOW INDICATES NORTHERN EUROPE AS THE VOYNICH MANUSCRIPT'S ORIGIN, AND IT GOES FURTHER. 1. TRANSCRIPTION ALPHABET- 90 words
gleaned using the transcription alphabet in this blog suggest constructions of an old Finno-Ugric origin with a substantial amount of Old Norse. In addition, there is a distinct Slavic influence. (Below is apai, aunt in Udmurt)2. FEMALE SUNS
The
Voynich manuscript with its heliocentric star charts was written 105 years before Copernicus’ publication that posited the sun in the center, causing the Copernican Revolution. That's a dead giveaway that the Voynich was created outside of the scientific canon. Having little to do with astronomy, the Voynich suns represent some core elements of north European mythologies that can be found in Scandinavian, Finno-Ugric, north Germanic, and even to some extent Celtic traditional belief systems. These belief systems go back thousands ofyears.
3. A location with the TOPOGRAPHIC FEATURESdepicted
in the Voynich manuscript: marble caverns with extremely green water 4. KOLOVRAT – SWIRLED STAR5. HEAD-DRESSES
6. SPA/SAUNA/BANYA
7. HELD OBJECTS: TORCS AND SEIDR STAFF8. FOLK ART MOTIFS
similar
to those found in Karelia and elsewhere in N. Europe, especiallyFinnic lands.
9. SEASONAL CALENDAR AND THE WHEEL OF THE YEAR10. ARCHITECTURE
11. DESIGN REMINISCENT OF SAMI SHAMANIC DRUM 12. PLANTS FROM NORTHERN HEMISPHERE > Bog rosemary, only found in bogs in cold peat-accumulating areas > And _Pedicularis flammea _found mostly in subarctic regions>
13. A congruence between the graphics and translations of thetext
,
which speaks of seasonal folk rites within discrete north European belief systems to bring abundance and protection. 14. COMPLEXION AND BUILD OF THE WOMEN 15. LIZARD OF THE UNDERWORLDmyth
Folklore
> I have observed a connection with fertility in the case of the > lizard motif (e.g. Figures 48, 51–52). This fits to the > explanation according to which LIZARD SYMBOLISED EARTH AND THE > UNDER-WORLD, THE WORLD OF THE DEAD. From: THE PERMIAN ANIMAL > STYLE , Editors > Mare Kõiva & Andres Kuperjanov & Väino Poikalainen & Enn Ernits. 16. RAIN/WATER/FERTILITY RITUALS in
northern European folk traditions as documented by Sir James Frazer 17. A PLAUSIBLE, MISSING PIECE OF PROVENANCEtying
the manuscript to recorded history18. TREENWARE
19. Mention in LEGENDand HISTORY
20. NORSE WORDS used throughout manuscript: eller, kor, ella, som,alla
21. CONSONANT GRADATION 22, NORSE RUNIC GLYPHS 23. HELIOCENTRIC STAR CHARTS RESEMBLING BROOCHES 24. LABELS ON HERBAL JARSinclude
a base, a fertility booster, a wound salve, and a medicine for liver. Also, the herbs in the jars, are being identified. 25. NORDIC NAMES FOR WOMENbeing
used in the calendars. 26. Correspondence with NORTHERN EUROPEAN MYTHIC COSMOLOGY.
27. Correspondence of HANDWRITING STYLEwith
another historical document from northern Europe. 28. Correlations in phraseology to traditional rune songs and chants that use a distinct meter.
29. Folk dance poses.
30. A pronounced ABSENCE of symbolism that would indicate anyother culture.
These various elements within the Voynich manuscript all converge on northern Europe as being the origin. Posted by Claudette Cohenat 7:38 PM
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30 Keys to Voynich Manuscript A Convergence on Northern EuropeArchitecture
Baba Yaga and dappled others Balto Finnic Folk Poetry and Trochaic Meter Beauties of Bad Press Between Devil and Deep Blue Sea: Latency and Mutations of Christianization in Various Regions of Northern Europe Calendar and Seasonal Year Castles and Rosette MapChildbirth
Context for Voynich Manuscript Design & Symbol in Voynich ManuscriptElo, Elu, Ela
Finno-Baltic Poetic Sound Device and Voynich Charm RunesHandwriting
Herbal Jars in VoynichHuldra/Hiisi
Introduction
Kvens
Language Candidates
List of Research Questions Men in Voynich ManuscriptMystery is the hoax
North European World View in Voynich Old Permic Script and People of Perm Krai Page of Voynich Translated: #f5v Para: An Example of Folk "Magic" and Natural Science Permian Animal Style and early non-Church manuscriptsPlants
Rites of the Hidden
Rosette Map and Topography Rosette Map Records An Ancient Pilgrimage Rosette Map with Prefix Key Sauna Banya Bastu Spa Seidr Staffs and Voynich Spinning, Hulda, and Voynich Spoon, Torcs, Staff, and CrossSpring Thaw
Stars
Terra Feminarum and Venusbergs Transcription Alphabet Ukko, Red, and Rainbow Voynich Manuscript Spook Music Voynich on Halfshell Water, Women, and RitualWatercraft
What They Look Like
What They Sound Like: Rune Songs and JoiksWhat They Wear
Word List
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* Claudette Cohen
View my complete profileSUMMARY
THE VOYNICH MANUSCRIPT has been carbon dated to the 15th century (~1430). Housed in Yale's Beinecke Library, it depicts largely middle-aged women dancing naked in the water of a cave, and also around star designs and zodiac signs. Other pages illustrate plants and herbal jars. Statistical analysis of the manuscript's text reveals patterns similar to those of natural languages, in fact more complex than English, meaning that it is highly unlikely to be a codified language or a hoax. That much is scientifically proven. Astonishingly, no one, expert or amateur, has been able to read this manuscript or figure out where it originated, who wrote it, or whatits purpose was.
The graphics and weird penmanship invite fanciful speculation which I believe continues to obscure rather than elucidate any real answers. The theory supported in this blog is as follows: 1. The Voynich manuscript originated from northern Europe. 2. The women it depicts are central instead of peripheral to it. 3. They themselves actually wrote and drew it. 4. They were depicting themselves performing a ritual celebrating the sempiternal cycle of nature manifest in the seasons and in the span of human life from birth to death. I would be happy to answer questions and receive insights.My CV
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For a comprehensive introduction to the Voynich Manuscript, visit René Zandbergen's site at http://www.voynich.nu.
_Disclaimer_: Most of these graphics are not mine but rather from my research. If you see something of yours that you would like removed, just contact me and I will remove it. The Voynich Manuscript was written by north Euro. women. © 2014 Claudette Cohen All rights reserved. Simple theme. Theme images bygaffera
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