This statement by B. A. Rybakov is confirmed by his published series of “Babylons” - drawings by medieval architects, which depict squares and rectangles inscribed into each other.

Indeed, considering the drawing of the Dimensional Angel, we found that ABCD is a square with a side equal to the folk, or flyweight, fathom.

Diagonal of square ABCD with side a, equal to the people's sazhen, will be equal to the Pythagorean theorem √ 2 X a = 248.90 cm

We also established that the diagonal going from the feet of the dimensional angel to the upper left corner of the square ABCD, that is, the diagonal of the semi-square, gives us the expression A X √ 5 / 2 = 88 x 2 ,236 = 196,77 cm, which, with an accuracy of 0.4%, corresponds to the size of the royal sazhen.

If for A 2 i denote the national sazhen, then √ 2 x 176.00 there is an element of the table that is six steps to the right from the folk one, that is

A 2(i +6) = √ 2 x A 2 i .

In the figure, this is the segment OL = √ 2 x OF .

Accordingly, finding the royal sazhen is described by the relation

A 2(i +2) = 6 √2 x A 2 i\u003d Phi 6 / 16 x A 2 i,

that is, the royal fathom is 2 steps to the right from the folk one, and in the figure it corresponds to the segment OH.

Let us show in Table 3 the original sazhen and two sazhens derived from it.

Table 3

It is quite clear that similar constructions can be performed for all other known fathoms, and for each of them two more fathoms derived from it can be obtained. The fact that these architects used this method is clearly shown by their drawings that have come down to us, published by E. A. Rybakov.

IN general view we have the following relations:

Ak (i +6) = √ 2 x Aki , wherek = 1, 2, 3,i - any natural number;

Ak (i +2) = 6 √2 x Aki\u003d Phi 6 / 16 x Aki , wherek = 1, 2, 3,i - any natural number.

Let's show you what happened. Green shows those elements in which the derivative of a fathom from the known one coincides with the already known one. We will not perform any actions with the city sazhen, since it is a double small sazhen, that is, the process of multiplicity from a small sazhen.

Table 4

The next very interesting topic is the arshin and the three-arshin or one and a half sazhen.

The word "arshin" has its root "arsh", which means "determining measure". Through the concept of "arshin" another of the most important properties of the Golden system of sazhens is manifested.

Let's take a look at Vladimir Dahl's Explanatory Dictionary of the Living Great Russian Language.

ARSHIN - ... four quarters (spans), four inches each ...; a third of a sazhen; the length of the entire arm from the shoulder; free step of a person, ... 0.711 meters.

So, arshin defines the "reach zone" - everything that is at arm's length or one step. Symbolic, isn't it? And each of us lives according to his own yardstick, and not according to someone else’s - “everyone measures by his own yardstick”, that is, he measures it with himself, with his internal energy device, chooses what exactly is consonant with him - the only true process.

And now, placing objects on my desktop so that it is convenient for me to work and easy to reach them, I use my arshin.

There are four spans, sixteen inches in an arshin, it is one third of a sazhen and is equal to 0.711 m.

Well, like this - 0.711 m and not a centimeter less or more? In such a “reach zone” I would have to stretch with all my might, and my long-armed and long-legged companion would be cramped - we have a difference of arshins - her step, mine is almost one and a half ...

Let's turn to another public source, the Internet contains a large number of reference tables of this kind:

But why an arshin a third of a sazhen? The fathom is not divided into three parts, only bifurcation or doubling - this is the algorithm for the formation of fathoms and their elements. But why is it necessary to share? Can't one fathom include into itself three elements of another fathom with a sufficient degree of accuracy? Of course it can. There are 16 vershoks in an arshin, which means that an arshin is half a sazhen, half of some sazhen - after all, there are 32 vershoks in a sazhen. This means that the fathom that formed the arshin - 2 x 71.12 cm = 142.41 cm - is a small fathom, the deviation is vanishingly small - 0.17 cm. Then three arshins - 213.36 cm - this is a fathom, which is one and a half times more than a small fathom.

A.F. Chernyaev in the book “The Gold of Ancient Rus'” wrote that the architects used not only single fathoms in their work:

“In the process of laying out, not only single fathoms were used, but also one and a half, double and 2.5-lengths. Doubled most often became smaller, small, simple and masonry. The most famous is the double small 2.848 m long, which has its own name - city.

Let's look at our table - one and a half, three-arshin fathom from a small one - this is the seventh element to the right of it.

Table 5

Let us write the manifested dependence in general form:

Ak (i +7) = 3 x Aki / 2= 1.5 x Aki, Wherek = 1, 2, 3,i - any natural number.

Let us show, as we have already done, in the table of sazhens the main sazhens and their three-yard correspondences.

Table 6

Comparing Table 4 and Table 6, we form Table 7.

We can clearly see that I use simple, well-known , and therefore the ratios that have come down to us, the architects of Rus' received and used in their work both the 14 basic fathoms, and other fathoms of the Golden System, obtained from the basic ones either completely accurately, or with a very high degree of accuracy.

Table 7

But one last element remained - the 12th in the first group, with its attractive whiteness saying that we have not yet received a complete picture.

The golden system of sazhens contains countless connections of one element with another and with others. What was revealed to me is a small drop, and by telling you about some of the interdependencies and complementarities that I was able to see, I sincerely hope that my story will also interest you, and together we can see more and more clearly.

The seven-partness, incorporated in the Golden System of fathoms, was not yet public knowledge, but quite the contrary, it belonged to sacred, hidden, stored and protected knowledge. But who took it upon himself to divide knowledge into available to everyone and, so to speak, knowledge for personal use ? And for what purpose?

So, Sevenfold.

The number 7 is the number of Truth. Christianity also manifested itself here in its own way, completely unfoundedly declaring that 7 is the number of Christ. This is the approach of any liar and thief - if a lie is repeatedly propagated in writing and repeated millions of times orally - there will be those who will believe simply because they have heard it often or read about it many times.

Now I will quote A. F. Chernyaev. I do not doubt the sincerity of his statements, but I have a different point of view on the essence of the number 7. And another important addition from my point of view - A.F. Chernyaev, speaking about the construction of temple structures, implies the construction of Christian churches. I have a different point of view - that many of these great creations was built with a completely different purpose: as helping people to enter higher energy-informational layers, that is, as energy accumulators for the transition from interaction with the planetary volume of the Earth to interaction with the volume of the Cosmic Unity of Matter. These structures were simply captured by the Christian church after the violent and bloody Christianization of Rus' and reprogrammed in a special way - reconfigured to suit the tasks of the conqueror. To make my thought more understandable, I will briefly explain that modern chronology with its so-called " millennium the Baptism of Rus'" I consider it a conscious falsification and a lie, like all modern "history".

But this is a completely different topic ... Therefore, having made only the necessary explanations that determined the difference in views in terms of common theme, I turn to the book "Gold of Ancient Rus'".

“... The master is an architect, in a modern way - an architect, in Rus' he did not calculate the relationship and conjugation of sizes, did not calculate the golden proportions, because he did not know anything about them, and there was no need for this. Since, having “Semer”, he chose the commensurability of fathoms according to the rule of groups and according to the quality (significance of the church, for example) that the object required for its intended purpose. He did not even imagine, apparently, that something could be considered for an object, since he operated not with commensurable centimeters, but with incommensurable sazhens, and he knew that only by following the methodology - the canon, you can get a beautiful conjugation of proportions, harmony, object.

The proportions were not calculated because they were originally laid down in the lengths of fathoms, and a set of several fathoms, chosen according to the canon, always makes up a proportion ... a multiple of the golden number (Phi).

In addition, it seems that the sazhen was not a directive invariable tool, and the master, depending on his design and the status of the structure, had the opportunity to slightly change the length of the sazhen so that the harmony of the proportional division of the object into parts would pass from explicit to implicit, hidden, and the hidden harmony was not visible to the uninitiated. It must be assumed that the masters, if they did not know, then felt such an aesthetics of proportions, which Heraclitus fit into one sentence: "... the hidden proportion is stronger than the explicit one", and Plato described it as: "... similar is a thousand times more beautiful than unlike .. . . The relation of the part to the whole and the whole to the part can arise only when things are not identical and not completely distinguishable from each other.

A sazhen for an architect did not become a charter. It did not remain an immutable tool on maternity leave. He probably had the opportunity, even without understanding the reason for it, to change its length within 1%, which, as already mentioned, does not affect the proportioning, but “blurs” its boundaries, which, moreover, were deliberately made more “vague” ...

The sazhen as a latent process with a doubling of length changes its dynamics. The proportions displayed by it become, as it were, mobile. Dynamics of moving proportions plunges a true Master, a master with a capital letter, to create a harmonious object in co-creation with God. And the more spiritual the Master possesses, the more subtle his sense of the sublime and uplifting, the more impressive the product of this co-creation will be.

Here it should be noted that the importance (or significance) of objects in antiquity was emphasized by double, triple and even greater combination of commensurate instruments used to measure the same parameter (that is, the height, length or width of an object).

Let's also turn to the article "Gold of the Heavenly Account". In the article A. F. Chernyaev answers the questions of the journalist S. Kalenikin. I took the liberty of correcting the journalist's inaccurate wording by italicizing this passage.

- ...Let's clarify: what was taken into account during construction first of all? Did the ancient masters use any special principles when constructing objects?

“Of course, and there were a lot of them. So, if we now build anything from the ground, then in the past, on the contrary, any structure was built from a height. From God! That is, first of all, the architect figured out the height, which was determined from the top of the cross. And only then the width and length were set. Moreover, the sacred object had two sizes in height: one was mundane, and the other was hidden, sacred.

- That is, the same height was measured twice with different sazhens?

- Yes, but with the secular version (for the laity), an even number of some fathoms was taken into account. ... And the sacred height implied aspiration to God. And such a height should have had an odd number of sazhens, but at the same time their multiplicity was seven! Of particular importance for the masters was the display of a hidden proportion in the composition of spiritual structures. Let's say the church is the temple of God - the temple of Christ, an object of holiness for believers and even unbelievers. Holiness is the measure of the Church. And the measure is always expressed by a number. A number behind which quality can be hidden, including the significance of the object being built.

Seven is the number of Christ, a sacred, sacral number. And the qualitative composition of the church being built as a temple of Christ, as a spiritual structure in its hidden proportion included elements of sacredness, containing a combined number of dual measures: worldly, open to everyone, and hidden, a multiple of seven. However, those who were not initiated into the essence of the sacrament of Christianity did not notice either duality or multiplicity, just as they did not notice that the church had at least seven fathoms of various lengths.

These rules were so conspiratorial and followed with such care that even today, admiring, for example, the Great Pechersk Church in Kiev, the Church of the Ascension in Kolomenskoye or the same Church of Paraskeva Pyatnitsa in Novgorod, even the major architects of today are not aware of the double dimensional structure of these masterpieces, nor about fathomed sacredness.

Can you give some explanation for clarity? In numbers

- When considering the plan of the Church of Paraskeva Pyatnitsa, it turns out that its length is 21.1 meters, or 12 folk fathoms (1.76 m each), and its width is 18.1 meters, or 12 simple fathoms (1.508 m each). This information is indicated in any reference book on ancient Russian architecture. But it turns out that 14 simple fathoms also fit in length (seven double fathoms of 1.508 x 2), and seven fathoms wide 2.587 x 7. As you can see, there is sacredness here too. And again "Vsemer". So it turns out that the plans of churches from the very beginning in a hidden form contained a certain mystery of sacred numbers.

And not only the Church of Paraskeva Pyatnitsa, but also, say, the Great Pechersk Church in Kiev, the Church of the Ascension in Kolomenskoye, the Church of the Savior on Nereditsa in Novgorod were built taking into account the sazhen system of A. A. Piletsky's "Semer". Therefore, it was widespread throughout Rus' ... "

So, the algorithm is given as an example:

2110 cm = 12 x 176.00 cm = 14 x 150.87 cm or 2 (6 x 176.00 cm) = 2 (7 x 150.87 cm) is the length in the example.

For the width in the example: 1810 cm = 12 x 150.87 cm = 7 x 258.67 cm = 14 (258.67 cm / 2),

that is, 2 (6 x 150.87 cm) \u003d 2 (7 x 129.34 cm), where 129.34 cm is a half fathom.

To complete the picture, let's take 2 more sazhens:

breech fathom 217.52 cm: 6 x 217.52 cm = 7 x 186.47 cm;

and a smaller sazhen 134.42 cm:

6 x 134.42 cm \u003d 7 x 115.21 cm, where 115.21 cm is a half fathom Greek.

This algorithm can be called "transition of 6 elements to 7". Let us show in Table 8 the elements of this transition.

For elements of groups 3 and 2, this algorithm is expressed by the relation:

6 x A ki = 7 x A (k-1)(i+1), where k = 3, 2 andi - any natural number.

6 x A 1 i = 7 x A3(i-10), Wherei - any natural number.

Table 8

In addition to the seven-part “transition of 6 elements into 7”, another seven-part transition appears in the Golden fathom system. - "transition of 8 elements to 7".

Let's take a few fathoms again:

breech fathom 217.52 cm: 8 x 217.52 cm = 1,740.16 cm = 7 x 248.90 cm;

folk fathom 176.00 cm: 8 x 176.00 cm = 1408.00 cm = 7 x 201.39 cm;

small fathom 142.41 cm: 8 x 142.41 cm = 1 139.28 cm = 7 x 162.95 cm.

For elements of groups 3 and 2, this algorithm has the relation:

8 x A ki = 7 x A ( k-1)(i+6) , for k = 3, 2 andi - any natural number.

For elements of group 1 we have the relation:

8 x A 1 i \u003d 7 x A 3 (i-5), wherei - any natural number.

Table 9

What is the sacred meaning of 7? What is the essence of the sevenfoldness, manifested in the Golden system of fathoms? Through the seven-partness, the Unity of the three spirals, the mutual connection of their elements, is manifested. In other words, the sevenfold unites the three into the Trinity. This is the essence of the number 7 - it manifests the Unity of all things.

Now about the last element of our table - the 12th in the first group. The existence of the 11th element of the 2nd group 296.00 cm programs, determines and manifests, according to the law of seven-partness, the existence of an element interconnected with it and complementary to it - the 12th element in the 1st group.

One does not exist without the other: 6 x 296.00 cm = 7 x 253.74 cm.

Table 10

And here is the answer: the architects of Rus' in their work freely owned all the countless, that is, endless, set of Golden fathoms and their elements, choosing for their creations those of them that were proportionate to the one for whom they created.

The golden system of sazhens was used not only by architects, but by all the Masters of Rus': they plowed and built, weaved, sewed and forged, it was used to make a lumberjack's ax, a farmer's plow and a warrior's sword. Caftans and shirts were sewn on it, so they never sat like a "caftan from someone else's shoulder." Each person was a Master, showing through the fruits of his labor a sense of proportion, Unity with the world in which he lived, bringing his complementary melody to the overall coordinated sound of the World and the Universe.

The conscious process of the destruction of the system of commensurations, which manifested in everyone human action and everyone object created by him, his proportionality , consonance with the world in which he incarnated began through pulling fathoms out of the Golden system one element and its absolutization by giving it only measuring qualities. This was done by force, through legislative pressure on people, through the destruction and prohibition of seditious "other" arshins, except for the permitted one, under the false slogans of progress, enlightenment, and development.

What does the saying "Caftan from someone else's shoulder" mean? This caftan is for another person, not for you, because it is sewn on a different arshin. On the introduction of a single arshin, a proverb arose: “ It is a sin to carry away (measure) on an arshine, but God commanded (in a cut) on scissors. What are you talking about? Now buying material, person used alien, imposed him an arshin, and the material was always bought with excess than the tailors used.

To live according to someone else's yardstick means to lose your system of proportionality to the World, to measure not by your own measure, not to hit all the time, remeasure, try on and miss ...

In the understanding of our ancestors, Measure is proportionality, not measurement. The destruction of the Golden system of fathoms took away from a person his proportionality to himself and the World, replacing by force proportionality by measurement, comparison.

Proportionality is a manifestation of the feeling of Unity, the feeling of the Primordial. Measurement - a comparison with a certain standard, to which YOU HAVE NO RELATIONSHIP - which of us feels our attitude to the meter? How do you feel the meter today? - even the question is strange. Measurement is a mental process, each measurement-comparison that a person makes in his life increases the area of ​​his mind in him and infringes on the volume of feeling. Mind chamber - the chamber of weights and measures. The destruction of the Golden System of Fathoms put a person in conditions in which he began to live according to his mind, and not according to his original feeling.

For today, I say goodbye to you. See you soon!

You can get closer to nature only away from the noisy breath of the metropolis. If you want to feel peace, and your own house surrounded by a beautiful garden and forest is your old dream, then it's time to take the first steps. In order for the building to be harmoniously built and positive energy always reigned in it, it is important to take a closer look at the system of sazhens. This old Russian and forgotten by many method of erecting buildings, based on reason and creative calculation, is able to embody a real work of art. If you decide to become the author of a project for a future structure that can cause spiritual awe and pour out harmony, then we advise you to turn to the mini-course "Step-by-step plan for creating a project for sazhens in 2 hours." Design engineer Svetlana Ryabtseva describes in detail the calculations for designing a house for a young family. Read all the details in our material.

The key to knowing the truth
Today, the ecological situation on Earth looks depressing. Practically in all megacities there are serious problems with the environment - gas contamination of air, water, garbage, dying green spaces due to salt pollution of the soil and the constant shade of multi-storey buildings. It is clear that the deterioration of the ecological situation resulted in a sharp deterioration in the state of health, an increase in the number of diseases of the population and the emergence of specific diseases of the townspeople, such as annual epidemics and depressions. Mankind urgently needs to pay attention to the well-being of the native planet and the prospects for its survival on it.

One of the ways out of the negative environmental situation is the creation of private houses from natural materials in countryside, in the open air, surrounded by forests and gardens. Living in the country and in the village restores the strength and health of a person. Healthy natural products are produced in rural areas: vegetables and fruits, dairy products.

The most important means of restoring and preserving human health is such an element of traditional Russian culture as the construction of houses according to sazhens. Since the system of sazhens is created on the basis of human proportions and sizes, in such a house the resonant frequency of our body will coincide with the frequency of the length of sazhens, which has a healing effect on the people living in it.

bubble chart
One of the most interesting methods for creating a project for a future home is described in Ianto Evans's book House of Adobe. The theory is this: you in general terms imagine the spaces you want to have in your home. Then, representing those same spaces, you need to draw a set of bubbles of various diameters. Further, these bubbles must be cut and rearranged in different configurations until you find the most convenient option. By gluing them all together, you will get a plan for your future home.

Here are some excerpts from the book by J. Evans:
"A place to cook? Well, standing near the imaginary circular kitchen nook, stretch out your arms. After all, you can’t easily reach anywhere further than this scope, so the kitchen ends there. I am 1.68 cm tall and I can stretch my arms 1.70 cm, so the kitchen will be 1.73 cm. Without moving, you can reach the refrigerator, stove, sink, plates, pots, food, pantry and kitchen table ".

“When you design your home, you are setting the stage for the space of your own home life. When describing how you want your home to be, use verbs instead of nouns to be as specific as possible about what activities you want to do in a particular place. Each space has to fulfill its special purpose, be the right size, shape, mood, smell and sound. Don't think about the bedroom, kitchen, bathroom. Tell yourself: sleep, bathe, cook, eat. Verbs will help you remember that you don't need a box, but a place to cherish what you're doing..."

“... As you describe both the interior and exterior spaces (attached or separate from the house), think about what should be next to what. It's usually pretty smart to have the bathroom next to the bedroom and the laundry next to the closet. The dining room should be next to the kitchen, sometimes we have a snack during cooking or straight from the refrigerator. Imagine a dining room within reach of the kitchen…” and so on.

“If you have already presented the scenes of your home life, then it's time to rehearse them. Use your body realistically to see how much space you need, how high rooms should be. Plan your home to help you be happy all the time.” In a word, create an image, as in Figure 1.

Dream on paper
Suppose you want to build a house for a young couple. Zones are defined: bedroom, kitchen, bathroom, guest room, pantry. As a material, we will choose a tree, a frame made of logs. The estimated dimensions of the log house are 5x6 m. The logs are 25 cm thick. The bedroom, kitchen and storage room are located on the ground floor. The attic will be the guest room. Based on these conditions, we will make calculations. They are based on a table of fathoms proposed by the Russian researcher A.F. Chernyaev (see table 1).

You must first determine the size of the house (in meters) and only then proceed to the choice of dimensions in sazhens. In order for a building to be harmonious, it is required that its internal and external dimensions be designed according to sazhens. The internal dimensions must be determined in terms of measures related to different fathoms: in half fathoms, elbows, spans, metacarpuses. There should be an even number of them - 2 half fathoms, 4 spans, etc. The external dimensions of the house with a porch and roof overhangs must fit into an even number of fathoms.

Calculation of the internal dimensions of the house by sazhens
Let's determine the dimensions of the room (see Figure 2), without taking into account the internal partitions. The choice of fathoms begins with a height. You can set it in 8 large spans, which will be 2.585 m. Accordingly, according to the table, the width is 32 Egyptian spans (6.652 m). Length - 6.048 m, which will be 32 simple spans. These fathoms, as we see, are included in groups No. 5 (first), No. 1 (second) and No. 3 (third).

We will carry out similar calculations for windows and doors. Let the height of the window be two large cubits - 1.293 m, and the width - two church cubits - 0.932 m. The height of the door - 4 royal cubits - 1.974 m, the width - 2 masonry cubits. By spans, you can calculate the indents of doors and windows from the floor and walls. The height of the foundation up to 40 cm is not taken into account, but let's say that it is 80 cm.

Calculation of the external dimensions of the house by sazhens
The height of the house will consist of the height of the foundation, the thickness of the floor and ceiling, the height of the walls in the room, the thickness of the roof in the ridge. The dimensions of pipes from ventilation and furnace, weather vanes are not taken into account.

As a result, we get the following:
0.8m + 0.5m + 0.5m + 2.585m + 3.659m + 0.5 = 8.544m = 6 fathoms small.

The width of the house is the sum of the width of the two roof overhangs, the thickness of the two walls, the internal width of the house:
0.5m x 2 + 0.25m x 2 + 6.048m = 7.456 = 4 church fathoms.

The length of the house consists of the width of the two roof overhangs, the thickness of the two walls, the internal length of the house, and the length of the porch ledge:
0.5m x2 + 0.25m x 2 + 6.652m +1.608m = 9.760 = 4 great fathoms.

As a result of the calculations, the following fathoms were obtained: small from group No. 2 (third), church from group No. 3 (second), large from group No. 4 (first).

All obtained values ​​can be rounded to within 3%. For example, instead of 6.048 m, you can take 6 m.

Analysis of the performed calculations
Find the ratio of sazhens, determine the coefficients:
6,652:2,585=2,57
6,048:2,585=2,34
6,652:6,048=1,09
9,76:8,544=1,14
8,544:7,456 =1,13
9,76:7,456=1,31

It is obvious that the obtained coefficients coincide with the harmonic coefficients according to the golden section with an error of less than 3%. 2.618 is the golden ratio squared; 2.33 - double gold (root of five minus one), 1.118 - Zholtovsky's function, derived by Zholtovsky on the basis of the proportion of the golden section (root of five in half), 1.171 - Hesi-Ra coefficient (square of the golden ratio divided by the root of five ), 1.309 is the wurf ratio (golden ratio squared in half).

In conclusion, it should be noted that the method of calculating structures by fathoms (unlike feng shui and vastu shastra) is simple and accessible. The result is a “living” house, harmonious to a person.

Practical guide to
work with saphens

WORKSHOP PLAN

1.
2.
3.
4.
5.
6.

Basic design principles for fathoms
human proportion system
Outlines of residential buildings
Room dimensions
Wurf relations and facade proportions
Plot proportions

1. BASIC PRINCIPLES
DESIGN BY FATHS
A sazhen meant the distance from the end of the fingers of one
hands to the end of the fingers of the other.

The very word "sazhen" comes from the verb "squeeze"
(get to something, grab, reach - cf.
also "reach", "reachable").

In the understanding of our ancestors, Measure is proportionality, and not
measurement.
The destruction of the Golden System of fathoms took away from man his
proportionality to oneself and the World, replacing forcibly proportionality
measurement, comparison.
Proportionality is a manifestation of the feeling of Unity,
feelings of the Primordial.
Measurement - comparison with a certain standard, to which he himself
the person is not related.

2. System
human proportions

According to 3 parameters (span
hands, arm height,
2 steps or length
outstretched hand from
shoulder joint)
received complex
from 3 sazhens characteristic
for a person
medium height -
Treasury - 2,176m
Folk - 1.76m
Smaller - 1,344m

Fathoms unfolded
phi number series

Table of fathom groups according to Chernyaev A.F.

Fathom ratios
2,176/1,345 = 1,618
2,176/1,76 = 1,236
1,76/1,345 = 1,309

Algorithm for obtaining the divine proportion

Comparison of the obtained functions in
given series

Numerical ratios of fathoms

Addition of a number of functions "golden
proportions"

3. Outlines
residential buildings

Proportionation of the building is carried out according to external dimensions,
taking into account ideologically important elements
(the height of the temple, taking into account the height of the cross, a residential building up to the ridge of the roof).

The length, width and height of an object, its main parameters, are determined by:
adjacent sazhens, interconnected by the relation
f =1.618, 1/2φ =0.809 and f2/2 = 1.309;
or in a geometric way - through the diagonal of the square
(silver section) = 2.414

The plan was formed on
function base
silver proportion.
Width ratio
buildings to length - through
square diagonal.

Building height with roof
formed through
9th step in
relation 1x2

The plan was formed on
function base
silver proportion
(deviation 0.9%).
Width ratio
buildings to length - through
square diagonal.

Building height with roof
formed through
golden feature
proportions - 1.236.
Division of the facade according to
vertically done according to
wurfu 1,309.

The number of fathoms must be even and whole.
View of fathoms in the main shaping dimensions of the structure
corresponds to the purpose of the structure and is determined from the status and
purpose of the object for public buildings and based on growth
house owner for private houses.

The proportions of a residential building are tied to the growth of the owner of the house
and are made up of fathoms of one group,
where the first is, for example, "Treasury",
corresponds to the size of a person with a raised arm (2.176m)
and tied to the height of the building,
the second - "Folk" - the height of a person (1,760m) and is tied to the width
building,
the third - "Small" - 2 steps (1.424m) and is tied to the length of the building.

When building multiple floors
different sazhens were used for each floor
(from different groups of "Semera" 1 step lower
for each next floor or according to the wurf rule).
The vertical articulation of the facade is carried out through the whirl
relationship.

4. Room dimensions

The breakdown of the internal parts and axes of the building was carried out
fathoms different from those used on external structures,
integer lengths-quanta:
fathoms, half fathoms, cubits or smaller parts.

It should be noted that in all dimensional operations, we took
the dimensions of the premises in cleanliness - without taking into account the thickness of the walls,
those. the dimensions of only functionally used areas.
The thickness of the structures seemed to be ignored, although the internal
transverse walls, unlike modern partitions
were very massive.

By doubling the number of fathoms, a proportion is established between
person and space. This alignment is called
the scale of the elements of the structure in relation to a person. That is
the height of the room must be at least 2 heights.
For different in their meaning and position in the hierarchical ladder
people, rooms are created, measured accordingly by different
types of saplings.

outlines
residential
Houses -
17th century drawing

Architecture is anthropomorphic, any thing or object that comes into contact
with a person, usually does not equal a person, but is performed either more,
or less than a person.
Doorway, bed - more human, and the top shelf
should be smaller than a person with a raised hand so that he can
reach out.
The size of the object, element of the structure is made one step larger
or a step below the model of the corresponding person.

The internal heights of the floors and the attic are made different,
but harmonious to each other fathoms,
may coincide with those used for outdoor measurements.
If there are 3 internal heights, for example, 1st, 2nd floors and attic,
then the consistency check is carried out
according to the wurf ratio: a-1st floor, b-2nd floor, c-3rd floor.
W(a,b,c)=(a+b)(b+c)/b(a+b+c)=1.3-1.33.
In practice, three adjacent sazhens participate in this ratio.
For a more accurate calculation, use the Novgorod
slide rule."

Division into isolated
compartments - cages dictated
only functional
the need to share
living area (heated) from
economic
(unheated).
The set of such compartments was dictated
vital
parameters - provision
food and labor
activities.
To the list of premises
included: common residential
room, canopy
(communication zone),
business premises,
cold areas - rooms
for livestock and a "latrine" place.

Reconstruction of a residential building in Trypillia

5. Wurf relationships and
facade proportions

In living nature, in biological bodies,
in the structure of the human body tripartite
division is constantly observed.
Member parts
tripartite division of the body (wurf)
form a system
mutual proportioning and
therefore they are inseparable.
For a block with three elements
with lengths a, b, c
wurf relation W(a, b, c)
calculated by the formula:
W(a,b,c)=(a+b)(b+c)/b(a+b+c).
By means of transformations such blocks
can be combined with one another
complete coincidence of all their points.

Wurf meanings vary slightly,
averaging W = 1.31.
In the ideal case, V. Petukhov indicates W = 1.309,
that when expressed in terms of the golden ratio
W = φ2/2.
He calls him "gold wurf"
If the construction has a wurf relation of three-term division,
then no matter how the observer moves relative to it,
the angle of view will always have the same wurf value,
and a moving observer will perceive
constantly changing
but remaining aesthetically perfect,
harmonious design.

6. Proportions of plots

Not so long ago, land was measured all over Russia
not by a meter, but by sazhens.
There was a square sazhen, something more than a square meter.
There was a tithe equal to 109 acres, or 10,900 square meters.
There is evidence that 2,400 square sazhens fit into a tithe.
Based on this information, we find out the size of a square sazhen. 10900:
2400 \u003d 4.542 - more precisely 4.548 sq.m.
It should be borne in mind that the length and width of the land plot
cannot be the same.
When proportioning and determining the size of allocated land
plots you can use fathoms as follows:
Width

masonry

policeman

Folk

Church

Greek

Treasury

The resulting size of a square sazhen and the tithe itself
have the Golden Ratio property.
Moreover, they are most harmonious for those
according to whose height plots are measured by a square sazhen
and will give a greater harvest than measured by the meter,
for they form the space of the volume of the harvest.
Examples of yield increase noted
in the diary of M.V. Lomonosov
and in the settlements of the Kirov and Krasnoyarsk regions.

Unfortunately, this point of view is put into practice by domestic "unfortunate historians" who still adhere to the Norman and other pro-Western theories. We are convinced that, again, the Greeks, Italians and others like them taught us how to build. However, a huge number of facts and the analysis showed that the ancient Russian “Semer” contained knowledge used not only by Russian architects, but also by architects of other peoples. This knowledge carried deeper information about harmony and the universe, reflected in numbers.

MERILO

The history of Ancient Rus' is full of mysteries. But one of her most mysterious achievements is the measuring system used in the construction of temples and other structures. The surviving monuments of architecture demonstrate harmony, both in aesthetic and architectural content. At the same time, it is argued that the church fathom is based on ancient Roman passes, the Greek fathom is based on Greek orgies, the great fathom is the Swedish boundary cubit, and the royal fathom is the Egyptian royal cubit ... In other words, the Slavic people were allegedly unable to introduce a single measuring instrument and therefore, he unconsciously collected and used the knowledge accumulated by neighboring peoples. From these positions, even the assumption of the possibility of the existence of a strict proportional system of ancient Russian sazhens seems simply unbelievable.

However, the prominent architect A. Piletsky managed to obtain a scheme, which he called the "Old Russian Semer", showing the systemic dependence between the sazhens of Ancient Rus'. It's a kind of number matrix, the most important feature which lies in the fact that for the first time she showed the deep essence of ancient Russian sazhens, which are based on the golden proportion!

It is known that in Rus' the sazhen was the main measuring instrument. There were dozens of them. The most common were - city (284.8 cm.), Great oblique sazhen (249.6 cm.), Great (244.0 cm.), Greek (230.4 cm.), State (217.6 cm.) , oblique fathom (216 cm), royal (197.4 cm), church (186.4 cm), sea fathom (183 cm), folk (176.0 cm), masonry (159.7 cm .), simple (150.8 cm), small (142.4 cm) and others 1 .

Moreover, the sazhen was not a directive unchangeable tool, any master could invent his own personal sazhen. The architect in his practice, as a rule, used a set of three to five fathoms. To measure the length, width and height, different fathoms were used. When measuring or building the same object, they could use different fathoms that were disproportionate to each other. But the main thing was that these fathoms had to adhere to a strict proportion, but in fact they were commensurate with the proportions of the Earth (its distances from its center to the poles, to the equator, etc.): the proportions of the structure are an even number of times proportional to the volume of the Earth.

As the main tool, according to Academician B.A. Rybakov, for calculation and measurement during design and construction in Rus', they used a “measurement” (Illustration, a bummer of the Novgorod measure), which is two tightly folding bars with risks applied on their three faces, i.e. a kind of slide rule (Fig. 1). Such a tool was found during excavations in Novgorod. The numbers probably remained on the lost part of the break. Therefore, the method of applying the measure remains not entirely clear ... There are three different scales on one measure, and, according to Academician B.A. Rybakov, this means that we have before us a design architectural tool similar to a slide rule. And each of its scales, apparently, is proportional to some fathom. He began to understand and found out: the sum of the lengths of the cells on each side of the measure is equal to a city fathom (284.8 cm). Moreover, the dimensions of all 14 fathoms of the “Semer” “fit” on the measure. Rybakov restores the Novgorod measure in the form of a rod containing elements of a set of parts of the lengths of three sazhens: measured (flying), great (oblique) and straight (simple), but in an unusual division for ancient Russian proportions - each sazhen is divided into 21 elements (Fig. 2. Reconstruction of the measure). According to B.A. Rybakov, this unusual division gives the ancient architect the opportunity to operate with the elements of each sazhen to reproduce architectural details and circular structures. Since for any diameter of a circle, when the diameter is divided into 21 parts, 66 of the same segments will fit with great accuracy in the circle itself. This division has been known since antiquity as the ratio of Archimedes in the form of a proportion of 22:7 = 3.1428, which makes it possible to construct any circle with an accuracy of 0.05% and carry out the operation of converting a circle and a segment of any circle (arc) into linear measures.

Of course, only the initiates could use the measure. At the same time, they needed to know how many and what segments - add or subtract cells of the measure in order to get the given proportions or the desired fathom. In any case, all dimensions of the future structure were subject to the harmony of the "golden section". During the construction of religious buildings, each of its parameters was measured by three variants of sazhens.

Let's present the fathoms used in the form of a decreasing series and find the numerical ratios between them, bringing them into table 1.

As can be seen from Table 1, all fathoms correlate with each other in accordance with the laws of the golden section, the golden wurf, through the corresponding coefficients 1.618 and 1.309.

Since harmony is one of the properties of the golden section, and the number 2 is an octave of a tempered musical scale and is formed by small seconds, it was assumed that a small second equal to 2 corresponds to a coefficient of 1.05946 ... , is a step along the vertical of the Russian matrix and provides her musical harmonious structure. It turns out that all the physical properties of bodies are also qualitatively related by the power values ​​of the minor second of the musical harmonic series 1.05946..

The introduction of the meter as a unit of measurement disrupted these proportions and harmony in buildings. Now in buildings all dimensions in the plan have become parallel or perpendicular to each other. These places are dead. This is not the case in old buildings, because length and width were measured in different fathoms, and this led to the fact that symmetry was broken in the plan of the structure, and everywhere there were life-giving angles of inclination. When changing the position in such a room, a feeling of revival of the corners was created, and the room seemed to change its dimensions before our eyes. The fact is that in such a room there is no negative-hidden - standing wave of the flow of primary matters 2 pumping energy out of a person. Here, the effect of cavity structures is manifested, which was discovered by V.S. Grebennikov 3 . In rooms with such a structure, the dimensionality changes in places of narrowing and a change in the density of the flow of primary matters occurs - like a flow of light in lenses. The intensity of the flows affects the well-being of a person. This once again confirms the idea that our ancestors retained part of the Vedic knowledge that the Slavs possessed before the last planetary catastrophe. 4 .

The ancient architect, as noted by the academician of the International Academy of Informatization at the UN A.F. Chernyaev 5 , when designing structures, I did not calculate anything, because there was no need for it. Having "Semer", the architect chose the commensurability of fathoms according to the rule of groups, because he knew that only by following the methodology - the canon, you can get a beautiful conjugation of proportions, harmony. And the proportions were not calculated, because. they were initially included in the length of sazhens (see Table 1). A set of several fathoms, chosen according to the canon, always make up a proportion (1.618), a multiple of the golden number. Moreover, the canon did not depend on any physical influences, unlike the meter, the length of the standard of which depends on temperature and other influences. A fathom in the form of a rope is deformed evenly, so the proportions remain unchanged.

What else is important. The number of columns of the matrix A.A. Pilecki, acting as measuring values, constitute the elemental structure of each sazhen. Let's show it on the example of a folk sazhen (measured): sazhen - 176 cm; half a sazhen - 88 cm; elbow - 44 cm; span (half elbow) - 22 cm; metacarpus (half a span, two inches) - 11 cm; a vershok - 5.5 cm. All of them, except for a vershok, were not subject to division. A vershok could be divisible by any number.

Matrix columns have unique opportunity- with its help, you can also determine the length of a circle, the diameter of which is one of the fathoms.

Let's take for example three fathoms - state (217.6), folk (176.0), and small (142.4):

217.6 + 88.0 + 142.4 = 448 cm (1)

The resulting length is the circumference, for which a small fathom becomes a diameter (with an accuracy of 0.15%), and its half a fathom becomes a radius. Let's check this statement:
448: 142.4 = 3.1460. Naturally, relation (1) is valid for any triple of consecutive numbers of the matrix along the horizontal row, and every master, more or less owning sazhens, knew this ratio and successfully used it.

To obtain with the same accuracy the length of a side of a square inscribed in a circle with a diameter of 142.4 cm, it is enough to subtract half a span of a small one from half a sazhen of 108.8 cm. The resulting side of the inscribed square of 99.9 cm is only 0.79 cm, or 0.8%, different from the true one, equal to 100.69 cm ...

All sizes of sazhens, except for the extreme ones, can be connected, as shown by A.A. Piletsky, with the dimensions of a person with the following dependence (table 2):

Here, the coefficient connecting the boundary values ​​in the interval of the corresponding human height is 1.236 (see Table 2), for example: 230.4:186.4 = 1.236.

For many centuries, the lack of a single standard did not interfere, and moreover, it contributed to the construction of magnificent structures that were aesthetically proportional to nature, also because in ancient Russian architecture all articulations were tripartite.

The memberwise parts of the three-part division of the body (wurf) form a system of mutual proportioning and therefore turn out to be inseparable. It should be noted that, for example, in living nature, in biological bodies, in the structure of the human body, a three-part division is constantly observed. For example: The fingers and toes have a three-phalangeal structure, the hands are three-segmented (shoulder-forearm-hand (at 20: 32.3-24.5-18.8 cm)), the same legs (thigh-shin-foot (45 ,4-37.5-27.0 cm)); on the scale of body size (in anthropology, triangularity is also distinguished: the upper segment - from the crown of the head to the base of the neck; the middle segment, or torso, - from the base of the neck to the hip joint; the lower segment - from the hip joint to the end of the toes: 25.3- 51.8-109.9 cm). Numerical ratios between body sizes equal to 1.309 are called golden wurf 6 . This can also be seen in Table. 1.

And if a structure has a wurf relation of a three-term division, then no matter how the observer moves relative to it, the angle of view A, B, etc. will always have the same meaning of wurf, and a moving observer will perceive an ever-changing, aesthetically perfect, harmonious construction.

During the time of Peter I, the Russian state fathom was “spoiled”, changing its length by 4.3 cm, and putting seven English feet into it.

Old Russian Semer

The facts confirm that the ancient Russian sazhen measuring system was global. The Mexican pyramids, the Tower of Babel were built in accordance with the ancient Russian "Semer". The famous scientist E.I. Kucherenko 7 , a specialist in ancient tools and heraldry, found out during an expedition to the Samara region in 1947-1948 that the inhabitants of some local areas “remembered” how their distant ancestors built the famous Egyptian pyramids. The same is said, by the way, by the old-timers of the Poltava and Bryansk regions. Calculations show that all the premises and objects of the Giza pyramid complex were designed and built according to measuring instruments that fully correspond to those units of measurement that we call ancient Russian sazhens. For example, in the structure of the parameters of the Cheops pyramid, we find ten variants of ancient Russian sazhens. But that's not all. Even more ancient buildings of Egypt - Osirion in Abydos, the lower temple of the Khafre pyramid and the famous Great Sphinx - were built using the same measuring complex. And the age of these structures, as some researchers believe, is 10-15 thousand years. That is, our Russian system of sazhens has more than a respectable age.

And in the Gorky region, the peasants measured the weight of a haystack using the ancient Egyptian method of measurement. And in the Poltava region, the peasants make an account in a very strange way, which turned out after deciphering the ancient Egyptian papyrus, that this account was used in ancient Egypt. And how in the same 40s in the Gorky region measured the weight of a haystack? Now everything is simple: I loaded the car and onto the scales. But what if you only have a cart and a horse? So, the man took off the reins and threw them across the haystack. Then he threw it over again, again figured something out, folded something. And so, say, seven times. And then he confidently says: the weight of the haystack is one and a half tons. It didn't need to be checked. It's all right. Where did he get this method of weighing from? And the way is ancient Egyptian!

In 1927, our Academy of Sciences deciphered one of the ancient Egyptian papyri. It turned out that it contained the mathematical calculation of multiplication. At the same time, an expedition returned from the Poltava region, which carried out archaeological excavations there. One of the scientists, when he was a guest with a local peasant, drew attention, as he believes. And the owner of the hut thought in a very strange way. And only later, after deciphering the papyrus, it turned out that the peasant was counting downright “according to the papyrus”! How could a Poltava farmer know the ancient Egyptian account?

By the way, in my childhood I had to see how our groom, a Talysh 8 by origin (south of Azerbaijan, Lankaran region), determined the weight of a haystack in the manner described above. Accidents are clearly excluded here. True, some researchers have the idea that the Slavs could borrow different fathoms from different peoples. However, this assumption was refuted by the prominent architect A. Piletsky 9 , who received a diagram showing the systemic dependence between the sazhens of Ancient Rus'. Using it, he came to the construction of a system of proportions, which he called the "Old Russian Seven". This is a kind of numerical matrix (Fig. 3.). It reflects the organic relationship of all sazhens and their proportionality to the golden ratio, which once again proves that the ancient Russian system of sazhens is an invention of the Slavs, and not introduced from outside.

A study was carried out in order to find the mathematical patterns reflected in the "Semer" and their connection with the laws known to science about the harmony of the surrounding world. To solve this problem, the numerical series of the Semera matrix along four axes were analyzed. We bind the matrix to the Cartesian coordinate system - we place the origin of coordinates in the center of the "cross" (Fig. 3).

where: χ0=1.236 - constant coefficient

k and n are the numbers of the natural series; k - cell number along the "Y" axis; and n is the cell number along the "X" axis in central system coordinates; ank - the member of the cell with which the coordinate system is associated.

If we take k \u003d x, and n \u003d y, we can get a matrix with the entire number series from -∞ to +∞.

The matrix has a number of amazing properties, both along the axes and along the columns and rows. For example, the difference between adjacent members of every fourth row, relative to any arbitrarily chosen one, will always repeat the last one (4).

Another feature of the "Semera" matrix is ​​that, if instead of a natural series of numbers (which no one legalized as fundamental), we put irrational ones that are in the range between neighboring numbers of the natural series, for example, the number then the matrix numbers along the "X" axis will reflect the law of broken symmetry 12 (see Table 3).

Thus, the matrix of "Seven Measures" numerically covers and reflects the harmony of all natural phenomena and the structure of our world, being a consequence of more fundamental laws nature.

1. The law of qualitative symmetry. It means dividing the whole in half and reflects the principle of dichotomy, i.e. mirror symmetry.

2. The law of broken symmetry. It turned out to be the essence of law 1. If law 1 is based, in particular, on the relationship between the geometric (xr) and arithmetic (xa) averages (a / b = (a + c) a), then the basis of law 2 is the ratio xr2 / xa, and this is the harmonic mean (хgar=(а-х)(х-в)=а/в). Determining hgar between centers Sk that are symmetric with respect to any chosen center Sk (of both even and odd degree ).

3. The law of the golden section, which follows from laws 1 and 2. Of course, these laws are a consequence of more general laws of the universe, but they numerically show that our world is arranged according to the laws of harmony.

These laws are manifested in all phenomena of the world: genetics, music, astronomy, physics, poetry, etc. The law of qualitative symmetry in the matrix of "Seven" is reflected by numbers along the Y axis: below "1" the part is divided in half, and above "1" - the parts are combined into a whole - doubling (cells are divided in half and their number doubles). Along the diagonals parallel to the A-A axis, the law of the golden section operates (there are many examples of it in the world around us - from architectural structures, the human body to the Universe). Rows matrix along the "X" axis with irrational numbers ((where n - ) reflect the law of broken symmetry (examples: music from L. Beethoven to G. Sveridov; the location of the planets solar system; ratio of born boys and girls in peacetime; and etc.).

For the curious

Interesting regularities were found in the state diagram of Fe-C-alloys 14 . For example, dividing the temperature interval 1536-922 °C according to the golden section rule determines the temperature of the eutectic transformation (1147 °C). The eutectic transformation temperature and the Curie temperature (768°C) determine the critical iron transformation temperature (point G, 911°C). The temperatures of the peritectic (1493 °C) and eutectic (1147 °C) transformations, as well as the temperatures of the eutectic and eutectoid transformations, are harmonically related to the temperature of the G point. cementite (1252 °C) determines the critical temperature of the N point (1392 °C) of the polymorphic transformation of iron. Between the temperature of decomposition (melting) of cementite and the temperature of the eutectoid transformation, a relationship appears through the temperature of the N point. Division according to the rule of the golden section of the PSK isotherm of the eutectoid transformation gives a carbon content close to the eutectic; division of the segment within 0.02 - 2.14% C determines the carbon content corresponding to the eutectoid composition (0.8%). The ECF isotherm of the eutectic transformation is divided by point C (4.3%) almost according to the classical dichotomy. The HJB line of the peritectic transformation is divided by the J point (0.16% C) close to the harmonic section. The sizes of the peritectic and eutectoid transformation isotherms are in a harmonic relationship with the size of the eutectic transformation isotherm. At the same time, the wurfs of the considered carbon concentrations W(2.14; 4.3; 6.69) and critical temperatures (211, 727, 911 °C), (727, 763, 1493 °C) and (211, 1147, 1392 °C) are close to the gold wurf ( 1.309). The wurf of the concentrations of ledeburite, cementite and graphite (4.3; 6.69, 10.37 °C) with a difference of 0.23% coincides with the gold wurf (W=1.312). As the carbon content increases, the concentration wurf approaches the golden wurf. Thus, the critical temperatures and chemical composition of iron-carbon alloys in the range of iron concentrations up to cementite correspond to the golden ratio system.

We live in a world in which the proportions of the works of architecture around us belong to random families, and a person finds himself in an environment whose proportional structure, in its symmetry, is not characteristic of him. Such an Environment, which does not possess any of the groups of characteristic symmetries of a person, is most often not perceived by him, and is often rejected. This is where the root of the unfavorable psychophysical influence of the Environment on a person lies, and not only in the fact that residential buildings are a set of the same type of "boxes". Compare your well-being in the "old" city, where the houses are 2-3 storey, and in the new city, where there are multi-storey faceless houses, buildings and skyscrapers. In the "old" cities, proportions are observed, proportionality to human growth, harmony between individual buildings. In the new - the proportions are violated, there is a feeling of discomfort, disharmony, fatigue.

The analysis showed that the Russian “Semer” contained knowledge that was used not only for architects, but they carried deeper information about the harmony of the universe, reflected in numbers. This once again proves that Rus' was not “formed” 1000 years ago at baptism, but it has a deeper history than domestic “unfortunate historians” who still adhere to Norman and other pro-Western theories are trying to show.

Getting A.A. Piletsky "Old Russian Semer" is the most important historical, cultural and architectural discovery of the XX century in Russia. Before us is an unusual commensurate instrument that determines the entire process of the architectural creativity of antiquity. A tool that provides for obtaining fundamentally new (or rather, completely lost) numerical relationships that reflect the combination of sazhen lengths proportional to "gold".

Thus, the Russian matrix is ​​a mathematical structure that reflects the harmony of internal relationships of all properties of bodies, material processes or phenomena.

Therefore, knowledge of the Russian matrix, in principle, allows not only to track the development of any material process or structure, including, apparently, economic, social (including state), environmental, but also the possibility of their deviation from the parameters of the matrix and, probably, to correct the course of these processes.

1

2 See N. Levashov "Inhomogeneous Universe"

3 Grebennikov V.S. In the book: “Non-periodic fast-flowing phenomena in environment". Part III, Tomsk, 1988.; Victor Grebennikov "My World".

5 Chernyaev A.F. Gold of Ancient Rus'. The Russian matrix is ​​the basis of the golden proportions. M., 1998

6 Korobko V.I., Korobko G.N. Golden ratio and man. / Publishing house International Association construction universities. - M., 2002. 394 p., ISBN 5-93-93-130-5.

8 The Talysh (belonging to the Iranian group of peoples) have words in their language whose root system coincides with the Old Slavic. The Talysh are even anthropologically different from the Azerbaijanis and other peoples inhabiting the south of Azerbaijan. Linguists have yet to explore all this.

9 Piletsky A.

10 Kondrakov I.M. Secrets of the Russian Semer. Science, Ecology and Pedagogy at the Technological University: Sat. scientific Report Annual scientific and practical conference at the Technological University. - Mineralnye Vody: Publishing House of the SKF BSTU. V. G. Shukhova., 2007. - 205 p. pp. 187-191.

11 Wurf - (German - throw), is used to denote the ratio of three segments obtained by dividing a whole segment into three parts by four points. kladina.narod.ru Gold of the heavenly account conversation with Chernyaev A.F.).

12 Marutaev M. The harmony of the universe - the law of the One Whole. J. Russian bell. No. 3, 2005, p. 136 - 169.

13 Ibid, p. 136 - 169.

14 Gustov Yu.I. State diagram of Fe-C-alloys in the golden ratio system, c. Construction Materials, equipment, technologies of the XXI century, No. 10, - p.18.

Do you want a house in which your family will live happily ever after, without getting sick, without experiencing material problems, without quarrels and scandals, protected from adversity and adversity by Nature itself?

When you travel along the Golden Ring of Russia and visit ancient churches, houses and estates, you pay attention to how easy it becomes on the soul, how a feeling of calmness and peace comes. You seem to be powered by energy from an invisible but powerful battery. And how amazingly harmonious the architecture of antiquity is, how it attracts the eye and excites the mind! So why don't we feel the same in our houses or apartments?

The thing is that in ancient times people treated construction in a completely different way. The construction of a house was considered an act of creation, which was based on the unity of man and the world. This unity can and must be achieved not only in the bosom of nature, as we are all accustomed to believe, but also in the dwelling of man. After all, a person spends most of his life in the house!

The main secret of creating a project for a house in which people live long, richly and happily is the use of a special unit of measurement - sazhens. This is not a “dead”, “torn off” meter from nature, but a “live” value. The fact is that the size of a sazhen is not fixed, but "floating", which depends on the physiological proportions of the head of the family. Why be surprised that a house built according to “live” dimensions exhibits unique properties. This is how all the architectural masterpieces of ancient Rus' were built, which have served for centuries and have retained to this day their strong energy and, most importantly, their original appearance.

Origin of the fathom

Have you ever wondered what rules determine the integrity of the universe? Let's look at this issue on a cosmic scale, and we will see certain geometric patterns that correspond to the "golden section" rule. For example, the revolution of the planets around the Sun is a multiple of the "golden" number - 1.618. Surprisingly, the same ratio is found in the structure of all living things, be it plants, birds, animals, and even humans. This proves the omnipresence of this "divine" proportion. A person plays an important role in the relationship between the sazhen and the "golden section".

This relationship was proved by the famous Russian architect A. A. Piletsky, who combined 12 ancient sazhens - measures of a person obtained by averaging many samples of measuring instruments. The relationship lies in the fact that the multiplicity of fathoms is equal to the "golden" number 1.618 and its derivatives.

Academician Chernyaev in his book “The Golden Fathoms of Ancient Rus'” explained that the ancient builders did not need to do mathematical calculations: “Having “Semer”, the architect chose the commensurability of fathoms according to the rule of groups and according to the quality (significance of the church, for example) that was required destination object. Most likely, he did not even imagine that something should be considered in objects, since he operated not with commensurable centimeters, but with incommensurable sazhens, and he knew that only by following the canon method one can get a beautiful conjugation of proportions and harmony of the object.

"Living" and "non-living" system of measurements

The use of a standard meter, invented for the convenience of counting and measurement standard, will not be able to solve the problems of designing a comfortable energy-saturated home, however, fathoms can easily cope with this. Modern architects and mathematicians proceed from a simplified "inanimate" measurement system, where a meter wide is equal to a meter long and a meter high, which is fundamentally denied by the "living" system of sazhens, created to measure, compare the proportions of a building to the proportions of a person - a higher creation peace. Only using sazhens it is possible to obtain the proportions of a residential building that correspond to the vibrations of the Earth and achieve harmony with the planet. In other words, the measure of all Meryls is Man, created in the Image and likeness of the Creator.

Not so long ago it turned out that even in ancient Egypt they used old Russian system fathoms, according to which all objects of antiquity were designed and built, including the Egyptian pyramids.

We build a house according to the canons of our ancestors

How to properly and harmoniously build a house for yourself and your family?

The first thing to do is to determine the position of the house on your site, because the house, like a person, first of all needs a convenient location so that the wind does not blow through the doors and windows, so that the place is lit by the sun, so that it is warm and cozy.

After choosing the location of the house, it is necessary to create an "image" of the house - its sketch and select three main sazhens, which later determine the height, width and length of the building.

The construction of an individual residential building should not go according to standard project Or use standard sizes and square meters to which we are all accustomed. We have ceased to invest meaning in the concept of "individual", which means created specifically for a particular person or family. The individual dimensions of the owner or hostess should be taken as the basis for the size of the house, which allows you to build a "living" house "in your own image and likeness." It's pretty simple. For example, the height of the owner is 181 cm. We use the folk sazhen (176 cm) - this is the sazhen of an average height of a person. We divide the amount of growth, that is, 181 by 176, and we get 1.028. By successively multiplying a fathom row (16 fathoms according to A.F. Chernyaev) by 1.028, we get personal fathoms for the owner with a height of 181. And from these 16 obtained size options, we select 3 fathoms suitable for erecting the volume of the building (length, width, height).