So what is the objective of creating a catalogue of an imaginary world of unidentified objects, if the description intended to explain them is written in a cryptic form? Perhaps they were trying to conceal a very well hidden secret behind this strange imagery, but judging for the illustrative contents of both books, it seems that the enigmatic labyrinth that keeps us from knowing the truth, was just an exercise that both artist experimented with for their own gratification. In some ways Serafini’s book is very similar to the one from Voynich and viceversa, which makes us wonder if there is a connection on the creative purpose of both artists. The second deals with the humanities, the various aspects of human life: clothing, history, cuisine, architecture and so on. The first section appears to describe the natural world, dealing with flora, fauna, and physics. Divided into eleven chapters, the book is partitioned into two sections. The book is approximately 360 pages long, written in a strange, generally unintelligible alphabet (2). Luigi Serafini’s “Codex Seraphinianus” is an illustrated encyclopedia of an imaginary world, created by the Italian artist, architect and industrial designer Luigi Serafini over the course of thirty months, from 1976 to 1978. If any reader is previously familiarized with its “older brother,” Luigi Serafini’s “Codex Seraphinianus” could be perceived as a tribute to the famous Voynich manuscript, with the significant difference of containing not just its own cryptic language its contents are taken several levels further from its predecessor by inventing a complete and vast imaginary world and an extensive chapter of unusual flora. Luigi Serafini’s “Codex Seraphinianus” – “ The World’s Weirdest Book ever published” The illustrations in the book are what really deliver that sense of mystery and a hint of the yet untold story of these strange symbols. The important question behind this particular collection of contents (6 different), is how “mysterious” this same book could have been without the illustrations that support and imply it’s meaning, only on its undecipherable text? The answer is simple: at least, half as mysterious. The illustration content of the book implies that are 6 different sections: Herbal, Astronomical, Biological, Cosmological, Pharmaceutical, and finally a segment of recipes. The authorship of the manuscript remains unknown” (1). According to C14 dating performed by researchers from the university of Arizona the book was made between 14. However, most of the plants do not match known species, and the manuscript’s script and language remain unknown and unreadable. The book resembles herbal manuscripts of the 1500s (possibly from northern Italy), seeming to present illustrations and information about plants and their possible uses for medical purposes. Much of the early history of the book is unknown, though the text and illustrations are all characteristically European. The Voynich manuscript according to Wikipedia: “is a 240 velum page manuscript named after the book dealer Wilfrid Voynich who purchased in 1912. Voynich Manuscript “ the world’s most mysterious manuscript” If at the same time the content is complemented by powerful illustrations, the result translates into an automatic sense of mystery. Having said that, it’s easy to assume that if the information contained in a book is misleading, obscure or even undecipherable, is because that was exactly its purpose from the very beginning.
Wikipedia voynich manuscript archive#
It could be filled with words, symbols, numbers, illustrations, photos or even objects, all put together and collected to archive and give sense to an idea.
It’s commonly known that a book serves as a conveyer of information on a specific topic. But what happen when the mystery or the strange fascination with the unfamiliar relies on a tangible common object like a book? A more important, a book complemented with illustrations? Death, ghosts or UFOS, present popular unanswered mysteries that cause us to search relentlessly for answers, but in the end, impossible to get after all, for their ethereal characteristics. It’s an unavoidable part of human behavior and a very peculiar characteristic of its inquisitive nature. The Voynich Manuscript + Luigi Serafini + Edward LearĮvery individual has in itself an inherited fascination with the unfamiliar. Or how illustration is directly capable of deceiving the viewer. A playful exercise in creative representation,
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