Thesis Chapters by László Waszlavik
ВАСНЕЦОВ: БОГАТЫРИ. (ДРЕВНЕ)РУССКАЯ МИФОЛОГИЯ С ЗАПАДНЫМ СИМВОЛИЗМОМ, 2024
Васнецов написал свою знаменитую мифологическую картину на «скрытом» астромифическом языке западн... more Васнецов написал свою знаменитую мифологическую картину на «скрытом» астромифическом языке западноевропейской живописи. В ходе стандартной «расшифровки» картины в работе раскрывается скрытая характеристика трех богатырей, астрально-мифическое описание их роли и мифологических отношений.
THE 12 ZODIAC SIGNS IN THE HUNGARIAN CHAIN TALE "THE BELL OF THE RABBIT", 2024
THE 12 ZODIAC SIGNS IN THE HUNGARIAN CHAIN TALE "THE BELL OF THE RABBIT". Chain or cumulative tal... more THE 12 ZODIAC SIGNS IN THE HUNGARIAN CHAIN TALE "THE BELL OF THE RABBIT". Chain or cumulative tales occur below the 2000-2100 number of the Aarne-Thompson-Uther Index. The fairy tale under study appears to be based on the 12 zodiac signs, whereas some "corrupted" versions may show minor deviations from this structure. The version collected by László Arany is considered perfect. This is essentially identical to the tale published by Elek Benedek. The tale is also available on the internet at Népmese.hu, but the hunter's station is missing. The same incomplete version is published on Operencia.com, reworking Samu Konsza's version as one of seven chain fairy tales. The same incomplete version is also found on Bebietel.hu, two animated cartoons produced by Kecskemétfilm (in one of them the bull is replaced by a horse), another film with a nice text is very incomplete and contains only
A 12 ZODIÁKUS JEGY A NYULACSKA HARANGOCSKÁJA CÍMŰ MAGYAR LÁNCMESÉBEN. , 2024
KEY TO THE INTERPRETATION OF EUROPEAN ARTWORKS: THE TRIPLE ANIMAL CIRCLE, 2024
The article describes the integration of the Eastern and Western zodiacs and the 28-element Chine... more The article describes the integration of the Eastern and Western zodiacs and the 28-element Chinese lunar mansion cycle, without knowledge of which the "secret layer" of most European visual or oral works from the Christian era is uninterpretable.
KULCS AZ EURÓPAI MŰALKOTÁSOK ÉRTELMEZÉSÉHEZ: A HÁRMAS ÁLLATKÖRI RENDSZER, 2024
The West-European art history, lacking the knowledge of the triple animal wheel, is blind to it... more The West-European art history, lacking the knowledge of the triple animal wheel, is blind to its own works of art, not realising that their interpretation requires an symbolic alphabet, 2/3 of which is Chinese and only one third Western (Mediterranean). This basic correspondence system seems to be created by the organic fusion of Eastern and Western symbolism on the trade routes of the Silk Road (and the military lines)...
BROTHERS GRIMM: TOWN MUSICIANS OF BREMEN. THE FOUR SEASONS, THE SEVEN PLANETS AND THE ZODIAC IN THE HIDDEN ASTROMYTHICAL SYSTEM OF FAIRY TALE, 2024
The Town Musicians of Bremen is an interesting tale that contains several other symbolic subsyste... more The Town Musicians of Bremen is an interesting tale that contains several other symbolic subsystems in addition to the three indicated in the title of the study
A BRÉMAI MUZSIKUSOK. A NÉGY ÉVSZAK, A HÉT BOLYGÓ ÉS A ZODIÁKUS MEGJELENÍTÉSE A MESE REJTETT ASZTRÁLMITOSZI RENDSZERÉBEN, 2024
HIERONYMUS BOSCH A GYÖNYÖRÖK KERTJE CÍMŰ TRIPTICHONJÁNAK SZIMBOLIKÁJA. BOSCH KÓDOLÁSI RENDSZERÉNEK LÉNYEGE ÉS BEÁGYAZOTTSÁGA A NYUGAT-EURÓPAI FESTÉSZETI NYELVBE, 2024
The book provides a detailed symbolic analysis of Bosch's major summative work by deciphering as... more The book provides a detailed symbolic analysis of Bosch's major summative work by deciphering astromythical and tarot coding. It gives a brief theoretical grounding, illustrated with examples, presenting the 'secret' mainstream astromythical coding of Western European sacred painting - the so-called EDM system - and describes the 'ABC' of astromythical language and its main components. It presents Bosch's Creation coding based on the Logos Hymn, its antecedents in a study drawing, the antecedents of the astromythical and tarot symbolism of the Triptych with an analysis of the Seven Deadly Sins and the Four Last Things, the visual articulation of Jesus' preexistence in the first panel, the 4x3 gates of the Heavenly City and the Four Rivers of Eden, the representation of the Tree of Knowledge Good and Evil and the Tree of Life at the top of the central panel, the Sun and Moon calendars and lunar node symbolism of the central lake, the representation of the seven deadly sins and the seven heavenly virtues at the bottom of the central panel, encoded on the seven astrological planets (in addition, the original sin is assigned to the planet Earth). In the third - Hell panel, the impossibility of creation by light and sound in Hell, the destructive activity of the Antichrist and the " Anti-Creator " is encoded on the 22 cards of the Tarot's Major Arcana, in many places mirror- symmetrically with the creation motifs of the left panel. The work is a near-full-frame Christian mythology, but, in accordance with the doomsday and Antichrist expectations of the time, it is pessimistic in language and in its ending, as indicated by the absence of an alternative to Hell, Purgatory and Heaven.
SLEEPING BEAUTY. ASTROMYTHYCAL ANALYSIS OF THE GRIMM, PERRAULT VERSION AND THE GIAMBATTISTA BASILE PRE-VERSION, 2024
All three tales have an obvious zodiacal structure, more or less following the principles publish... more All three tales have an obvious zodiacal structure, more or less following the principles published by Marcell Jankovics and Gábor Pap since 1980. I have tried to give a detailed astromythical analysis, with a number of outstanding examples that point to the unified astromythical logic of the oral and visual works. The article will be of interest to advanced astromythical analysts.
CSIPKERÓZSIKA. A GRIMM-, A PERRAULT-FÉLE VÁLTOZAT ÉS A GIAMBATTISTA BASILE-FÉLE ELŐVÁLTOZAT ASZTRÁLMITOSZI ELEMZÉSE, 2024
Mind a három mese zodiákus alapszerkezetű, többé vagy kevésbé követve a Jankovics Marcell és Pap ... more Mind a három mese zodiákus alapszerkezetű, többé vagy kevésbé követve a Jankovics Marcell és Pap Gábor által 1980-tól publlkált elveket. Igyekeztem részlezes asztrálmitoszi elemzést adni, számos olyan kitekintő példával, ami rámutat a szóbeli és vizuális művek egységes asztzrálmitoszi logikájára. A cikk leginkább haladó asztrálmitikai elemzők figyelmére tarthat számot.
THE BROTHERS GRIMM: HANSEL AND GRETEL. THE ASTROMYTHICAL SYMBOLISM OF THE 1812 AND 1819 VERSIONS, 2024
The study reveals that both versions of the tale are based on the stepping zodiacal structure des... more The study reveals that both versions of the tale are based on the stepping zodiacal structure described by Marcell Jankovics and Gábor Pap. At the beginning of both versions there is a twofold representation of the Milky Way, from which the story turns to the zodiac and follows the zodiacal signs in sequence. The endings of the two versions are different and not very strongly coded, the most likely interpretation being that the 1812 version moves only along the right half of the Milky Way ( covering half a zodiac), while the 1819 version runs from the upper end of the Milky Way to Aries over about three quarters of a zodiac. The interpretation requires a high-school level of knowledge in astromythical studies, but can make fascinating reading for advanced interpreters.
GRIMM FIVÉREK: JANCSI ÉS JULISKA. AZ 1812-ES ÉS AZ 1819-ES VÁLTOZAT ASZTRÁLMITOSZI SZIMBOLIKÁJA, 2024
A tanulmány kimutatja, hogy a mese mindkét két változata a Jankovics Marcell és Pap Gábor által l... more A tanulmány kimutatja, hogy a mese mindkét két változata a Jankovics Marcell és Pap Gábor által leírt lépegető zodiákus szerkezetre épül. Mindkét változat elején kétszeres Tejút-megjelenítés van, ahonnan a történet a zodiákusra kanyarodva sorrendben járja végig a zodiákus jegyeket. A két változat vége eltérő és nem túl pregnánsan kódolt, a legvalószínűbb értelmezés szerint az 1812-es változat csak a Tejút jobb felén mozog (egy fél zodiákusnyi területen), az 1819-es változat a Tejút felső végétől a Kosig kb. háromnegyed zodiákust fut be. Az értelmezés magasiskolai szintű asztrálmitoszi ismereteket igényel, ugyanakkor izgalmas olvasmány lehet a haladó értelmezők számára.
The study reveals that both versions of the tale are based on the stepping zodiacal structure described by Marcell Jankovics and Gábor Pap. At the beginning of both versions there is a twofold representation of the Milky Way, from which the story turns to the zodiac and follows the zodiacal signs in sequence. The endings of the two versions are different and not very strongly coded, the most likely interpretation being that the 1812 version moves only along the right half of the Milky Way ( covering half a zodiac), while the 1819 version runs from the upper end of the Milky Way to Aries over about three quarters of a zodiac. The interpretation requires a high-school level of knowledge in astromythical studies, but can make fascinating reading for advanced interpreters.
CINDERELLA. SYMBOLISM OF THE GRIMM VERSION OF 1812 AND 1819 (ENGLISH VERSION), 2024
The article gives an astromythical analysis of two Grimm versions of the tale. Both are written f... more The article gives an astromythical analysis of two Grimm versions of the tale. Both are written for a complete zodiac (12 signs in sequence) and include all seven astrological planets. Aschenputtel (Cinderella) is a speaking name and represents Saturn in the seven-planet system of the tale. The Christian overtones of the second version are stronger, where the symbolism behind Cinderella's reward and the punishment of the stepsisters brings the symbolism of the Last Judgement's image of heaven and hell, with reference to Christ as the Judge.
HAMUPIPŐKE. A GRIMM-FÉLE 1812-ES ÉS 1819-ES VÁLTOZAT SZIMBOLIKÁJA, 2024
A cikk a mese két Grimm-változatának asztrálmitoszi elemzését adja. Mindkettő egy teljes zodiákus... more A cikk a mese két Grimm-változatának asztrálmitoszi elemzését adja. Mindkettő egy teljes zodiákusra (12egymást sorrendben követő jegyre) íródik, és tartalmazza a hét asztrológiai bolygó mindegyikét. A Hamupipőke beszédes név, és a mese hétbolygó-rendszerében a Szaturnuszt jeleníti meg. A második változat keresztény áthallásai erősebbek, ott Hamupipőke jutalma és a mostohanővérek büntetése mögött a szimbolika az Utolsó Ítélet menny- és pokol-képét hozza Krisztusra mint igazságtevőre utalva.
The article gives an astromythical analysis of two Grimm versions of the tale. Both are written for a complete zodiac (12 signs in sequence) and include all seven astrological planets. Aschenputtel (Cinderella) is a speaking name and represents Saturn in the seven-planet system of the tale. The Christian overtones of the second version are stronger, where the symbolism behind Cinderella's reward and the punishment of the stepsisters brings the symbolism of the Last Judgement's image of heaven and hell, with reference to Christ as the Judge.
ÜBER DIE GEHEIME SYMBOLIK VON PHILIPP OTTO RUNGE UND EINE VERGESSENE SPRACHE DER MALEREI, 2024
Ende 2020 habe ich ein Buch in ungarischer Sprache über die verborgene Symbolik von Philipp Otto ... more Ende 2020 habe ich ein Buch in ungarischer Sprache über die verborgene Symbolik von Philipp Otto Rung geschrieben. Ein Drittel des Buches wurde ins Deutsche übersetzt, und ich habe diesen Teil in ungarischer Sprache bereits auf academia.edu hochgeladen. Jetzt veröffentliche ich die gleichen 35 Seiten auf Deutsch, die eine längere theoretische Einführung mit einer Analyse einiger der wichtigsten Werke des Malers enthalten. Am Ende des Buches bin ich auf das Kodierungssystem Raffaels gestoßen, das sich inzwischen als die "geheime Mainstream-Kodierungssprache" der westlichen Malerei herausgestellt hat.
HIERONYMUS BOSCH: THE SEVEN DEADLY SINS AND THE FOUR LAST THINGS. THE SEVEN PLANET, FOUR SEASONS AND TAROT SYSTEM OF THE PAINTING, 2024
... the experienced astromythical analyst only needs to look at the painting to be suspicious of ... more ... the experienced astromythical analyst only needs to look at the painting to be suspicious of the numbers of "macro figures" (7 segments, the 4 discs in the four corners of the work, and the sum of the seven and the four, 11, which is the half of the number of cards in the Major Arcana).
HIERONYMUS BOSCH: A HÉT HALÁLOS BŰN ÉS A NÉGY UTOLSÓ DOLOG. A FESTMÉNY HÉTBOLYGÓ-, NÉGY ÉVSZAK ÉS TAROT RENDSZERE, 2024
A tanulmány a mű részletes szimbolikai elemzését tartalmazza, érdekessége, hogy a nagy összegző m... more A tanulmány a mű részletes szimbolikai elemzését tartalmazza, érdekessége, hogy a nagy összegző műhöz, a Gyönyörök kertjéhez hasonlóan ebben is van tarot rendszer, de az a témának megfelelően csak a Nagy Arkánum alsó, "negatív" sorára terjed ki.
BROTHERS GRIMM: HANS IN LUCK. A FAIRY TALE BASED ON THE SEVEN-PLANET SYSTEM. COMPARISON WITH THE HUNGARIAN FOLK TALE "BOOBY BÁLINT", 2024
An analysis of a Grimm fairy tale with a simple structure, compared to a very similar Hungarian f... more An analysis of a Grimm fairy tale with a simple structure, compared to a very similar Hungarian folk tale.
GRIMM FIVÉREK: SZERENCSÉS JÁNOS. EGY HÉTBOLYGÓ-RENDSZERRE ÉPÜLŐ MESE. ÖSSZEHASONLÍTÁS A BAMBA BÁLINT CÍMŰ MAGYAR NÉPMESÉVEL., 2024
Egy egyszerű, hétbolygó-rendszerre épülő Grimm-mese elemzése, összevetve egy igen hasonló magyar ... more Egy egyszerű, hétbolygó-rendszerre épülő Grimm-mese elemzése, összevetve egy igen hasonló magyar népmesével.
THE LIFE OF PAUL OF THEBES, THE HERMIT. THE "MORPHOLOGY" OF THE LEGEND - DETAILED SYMBOLIC ANALYSIS, 2024
An analysis of the legend was published as an Academia Letter in 2022. There, the size was limite... more An analysis of the legend was published as an Academia Letter in 2022. There, the size was limited, so i decided to write a much more detailed version.
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Thesis Chapters by László Waszlavik
The study reveals that both versions of the tale are based on the stepping zodiacal structure described by Marcell Jankovics and Gábor Pap. At the beginning of both versions there is a twofold representation of the Milky Way, from which the story turns to the zodiac and follows the zodiacal signs in sequence. The endings of the two versions are different and not very strongly coded, the most likely interpretation being that the 1812 version moves only along the right half of the Milky Way ( covering half a zodiac), while the 1819 version runs from the upper end of the Milky Way to Aries over about three quarters of a zodiac. The interpretation requires a high-school level of knowledge in astromythical studies, but can make fascinating reading for advanced interpreters.
The article gives an astromythical analysis of two Grimm versions of the tale. Both are written for a complete zodiac (12 signs in sequence) and include all seven astrological planets. Aschenputtel (Cinderella) is a speaking name and represents Saturn in the seven-planet system of the tale. The Christian overtones of the second version are stronger, where the symbolism behind Cinderella's reward and the punishment of the stepsisters brings the symbolism of the Last Judgement's image of heaven and hell, with reference to Christ as the Judge.
The study reveals that both versions of the tale are based on the stepping zodiacal structure described by Marcell Jankovics and Gábor Pap. At the beginning of both versions there is a twofold representation of the Milky Way, from which the story turns to the zodiac and follows the zodiacal signs in sequence. The endings of the two versions are different and not very strongly coded, the most likely interpretation being that the 1812 version moves only along the right half of the Milky Way ( covering half a zodiac), while the 1819 version runs from the upper end of the Milky Way to Aries over about three quarters of a zodiac. The interpretation requires a high-school level of knowledge in astromythical studies, but can make fascinating reading for advanced interpreters.
The article gives an astromythical analysis of two Grimm versions of the tale. Both are written for a complete zodiac (12 signs in sequence) and include all seven astrological planets. Aschenputtel (Cinderella) is a speaking name and represents Saturn in the seven-planet system of the tale. The Christian overtones of the second version are stronger, where the symbolism behind Cinderella's reward and the punishment of the stepsisters brings the symbolism of the Last Judgement's image of heaven and hell, with reference to Christ as the Judge.
https://us06web.zoom.us/j/84581585435?pwd=hB9kbvof1g7a8Tt9ZTEaoKOVO01UjE.1
The study, which is available only in Hungarian for the time being, explains the symbolism of the "Last Suppers" through the experiences gained over the last three years with around a hundred zodiacally (astromythologically) coded paintings. Briefly describes the traditional "EDM" system of zodiac painting coding, which was also used by Giotto in his Last Supper. After that, it moves on to the zodiacal solution of the "long table" representation created by Giotto's student, Taddeo Gaddi, and then shows how eternity, the Eucharist and the Holy Trinity, the portrayals of Jesus and Judas, appear on the permanently changing "linear zodiac" on the work of Castagno, on three variants of Ghirlandaio, and how Leonardo sums it up in his Last Supper with certain compromises. It presents the symbolism of the Last Supper seen in the Warwick stained glass, which is very similar, but eliminates certain imperfections of Leonardo's solution.
The study, which is available only in Hungarian for the time being, explains the symbolism of the "Last Suppers" through the experiences gained over the last three years with around a hundred zodiacally (astromythologically) coded paintings. Briefly describes the traditional "EDM" system of zodiac painting coding, which was also used by Giotto in his Last Supper. After that, it moves on to the zodiacal solution of the "long table" representation created by Giotto's student, Taddeo Gaddi, and then shows how eternity, the Eucharist and the Holy Trinity, the portrayals of Jesus and Judas, appear on the permanently changing "linear zodiac" on the work of Castagno, on three variants of Ghirlandaio, and how Leonardo sums it up in his Last Supper with certain compromises. It presents the symbolism of the Last Supper seen in the Warwick stained glass, which is very similar, but eliminates certain imperfections of Leonardo's solution.
Waszlavik László:
THE RAPHAEL'S CODE SYSTEM
Hidden Madonna-legends in Raphael's works
The history of astromithological and tarot-based representation of Mary
As a result of several years of intensive research, an interesting painting cryptographic technique has been discovered in Western Europe. It can be identified in almost unchanged form from the middle of the seventh century to almost present day. The discovery of the method used by Raphael was the result of the discovery of the coding system of a Hungarian painter Csontváry. The research in this regard was finalized for the 2019 Csontváry centenary, when, in addition to describing an eight-point aggregated astral mythical code system, we were able to identify "secret" stories, including imprints of complete literary works - they are discovered in dozens of pictures by the painter.
Researching the history of the method, suspicions were raised about Philipp Otto Runge, the founding theorist of German romantic painting, he intensively used five or six points of the eight-point Csontváry code. In addition to the "wraparound zodiac" present in Csontváry's works, in Runge's works the seven-planet system is also detected in almost every image. The system is presented in such a way that each planet fell strictly in line with the planet's exil and domicil zodiac signs. Actually, this is a hidden line system, which "supports" the stories "masked" in his paintings. The same "exil-domicil" system was identified with Raphael, who used the exil-domicil axis in his Madonna's paintings to display the Christogram of Constantine the Great (we also identified this secret Christogram with Csontváry). The earliest display of this "EDM" (EDM=exil-domicil and monogram) system, also used by Raphael, can be found on the "Encaustic Virgin" of St. Catherine's Monastery in Sinai, as well as later on the Madonna depiction of the Book of Kells. This system is present in the Italo-Byzantine style, the Proto-Renaissance and the Renaissance (this is also discussed in the book).
Half of the ten discussed Madonna paintings by Raphael also contain secret stories. Three of them tell the story of the legend of Mary in Italy (Legend of the Loretto, Legend of the Madonna della Madia, Legend of foundation of Francavilla), and one is telling the story of the Old St. Peter's Basilica in Rome. Raphael's very last painting (Transfiguration) and his self-portrait are also created in "EDM-system".
The book also brings some examples of EDM from the Renaissance till the present day (Rubens, Rembrandt, Menyhért Tóth). It also covers the parallel, tarot-symbolic Heschyan-Byzantine system of Madonna depictions. This is believed to be Egyptian-Coptic and may branch out from the Astro-mythological EDM line at the Sinai Monastery.
From the comparison of coding systems, it can be seen that Runge and Csontváry can be considered as the modern developers of the EDM system. The basis of all such secret coding is a symbolic alphabet (Triple Circle of Animals) described by the Hungarian astro-mythological school in the mid-1980s. This alphabet is rigidly converging the Mediterranean and Chinese Zodiac and the Chinese 28-element Lunar Mansion cycle.
This alphabet and its dialects has been identified in all genres of folk-sacral culture. It can be traced throughout the steppe from China to the Black Sea, from where it has shifted to Western Europe - the method of Western coding is therefore based upon this . Of particular value is Raphael's use of EDM, who may have been the first to hide complete stories in his works.
Traslation by Antal Dezső
Author - [email protected]
This method offers at least as much information about the ideas belonging to the painting as the traditional methods.