They say that architecture is music frozen in stone. But for some reason, when you look at some buildings, they sound, while others do not. Observing this phenomenon, I noticed that older buildings sound, and not modern ones sound.
What's the difference? The first thing that catches your eye is the presence of details:
Residential building of the 19th century.
Residential building of the 20th century.
19th century administrative building.
20th century administrative building.
Even at the institute, in the first year, we were told that an architect is the very first and most important doctor for a person. Why? Because a person's health depends on the house he lives in. How this house was built, where it was built and what it was built of. All of this is very important and all of this affects health. Both physical and mental. It turns out that the existence and development of society, the state and the entire civilization depends on the architecture, on the appearance of our cities, towns and villages. That's it - neither more nor less.
Mental health is influenced by the appearance of architecture - aesthetics, and the presence of details - informativeness. Color, shape and proportion also matter.
Promotional video:
According to scientists, “Modern architecture is more of a constructor than an object of creativity. Simple cube-shaped buildings produce a redistribution of electromagnetic waves. Glass and concrete create the effect of a radio screen, separating the human biofield from natural natural frequencies. Sensational experiments conducted on volunteers have shown how the shape of a building affects the human psyche. It turned out that a form with only straight edges contributes to the concentration of internal forces, tension, and vivid negative emotions. Cubic buildings give a person a gloomy focus and lack of positive emotions.
According to Dmitry Kovpak, candidate of medical sciences, if a person is put in such a closed cube, then he inevitably comes to a state of depression, because he has a break in psychological support. “Part of modern architecture comes down to the concrete blocks and cells in which we live, so such new buildings can also cause a psychological decrease in mood reduction,” he says.
At the same institute, we were told that our ancestors did not know about these properties of architecture, but intuitively felt them, and put this feeling into their creations. And these creations were so grand in their aesthetic and energetic qualities that they still attract the attention of people. They force them even from the other end of the world to come to see and worship the human genius who created such Beauty. Then I believed that my ancestors did it unconsciously, intuitively. Now I think that they not only felt, but firmly KNEW the laws of Harmony and Beauty, the laws of Proportions and the laws of the Universe.
And they built their buildings not according to meters and cubic meters, not according to the dimensions of the width and length of the molding templates of the precast concrete factories, but taking into account these Laws and according to measures commensurate with Man. And it was called
ANCIENT RUSSIAN ALL
These are the measures:
Babylon of Russian measure.
Geometric system of Old Russian fathoms.
Next, I present a conversation between journalist Sergei Kalenikin and the founder of new Russian mechanics, academician of the International Academy of Informatization at the UN, author of the original books "Secrets of the Khafre pyramid", "Big Sphinx: a sign of trouble", "Gold of Ancient Russia", "Non-Newtonian mechanics", "Dialectics space”,“Plane crashes”,“Stones falling into the sky”by Anatoly Chernyaev, as this story will be more informative and professional than my personal words.
SPACE IS A SUBTLE BUSINESS
- Anatoly Fedorovich, you look at the old Russian buildings - the eye rejoices and the soul shines. And our stately monasteries, temples, cathedrals! Goodness itself comes from them. In a word, the buildings of the past are surprisingly proportionate and harmonious. But how miraculously the architects of Ancient Russia created such beauty when they had no idea about millimeters, centimeters, meters! How did they manage to perform this kind of creation without having an idea of fractions, roots?.. What's the secret?
Church of the Intercession on the Nerl in 1165.
- In fathoms. In the past, they were the main measuring instrument in Russia. Among the main ones are the city, great, Greek, government, royal, church, folk, masonry, simple, small, oblique … True, some sazhens had several names.
- So how many were there in Russia?
- Nobody really knows about that. Roughly speaking, there were several tens of fathoms, if not hundreds. After all, each area had its own - Chernigov, Moscow, Novgorod, Vladimir… Yes, and any knowledgeable master could invent more than one personal fathom. It was not a directive, immutable tool. Moreover, the fathoms not only had different lengths, but, which is especially unusual, they were disproportionate to each other, although they were used when measuring objects at the same time!
- Why so many fathoms for the same measurement? Sheer nonsense! One can do without any headache, as the whole world now manages with one meter.
- The meter is a product of the historical development of man. It is a standardized, purely measuring instrument. And he is no longer good for anything. In any case, it is not suitable for comparison. The meter does not reflect the volume of our Planet.
- Really? A cubic meter?
- The same picture. Our mathematicians assume that length, width, and height are the same. And the system of fathoms was created for comparison. That is, among ancient architects, a meter in length was not equal to a meter in height and a meter in width. If we adhere to this rule - we preserve this inequality, then we get the proportions of the structure, which will be proportional to the proportions of the Earth.
- What does it mean?
- The fact that the proportions of the resulting structure an even number of times will be proportional to the volume of the Earth. Let's say the erected temple becomes commensurate with the Planet. And if you use an ordinary meter, then our structure will be incommensurable with it.
- It turns out that the fathom is a cosmic phenomenon?
- It turns out so. But back to the meter. It is believed that a measuring tool should be divided with great precision into a number of identical measuring units, usually multiples of a round number. A meter is divided into ten decimeters, a decimeter - into ten centimeters … The meter itself is a standard value, ten millionths of one quarter of the Paris meridian. And obtaining its reference length is a rather complicated, lengthy and expensive operation. The resulting standard meter length, in the form of a verified platinum rod, has been stored in a case at constant temperature, pressure and humidity for almost 200 years. But even under these conditions, its length needs to be specified. Sazhen has a different logic.
15.11 / 12.22 / 9.888 / 8.000 / 6.472 / 5.236 / 4.236
7.554 / 6.111 / 4.944 / 4.000 / 3.236 / 2.618 / 2.118 3.777 / 3.056
/ 2.472 / 2.000 / 1.618 / 1.309 / 1.059
1.888 / 1.528 / 1.236 / 1.000 / 0.809 / 0.654 / 0.529
0.944 / 0.764 / 0.618 / 0.500 / 0.404 / 0.327 / 0.264
0.472 / 0.382 / 0.309 / 0.250 / 0.202 / 0.164 / 0.132
0.236 / 0.191 / 0.154 / 0.125 / 0.101 / 0.082 / 0.066
Fragment of the Russian matrix.
In the center is one. And diagonally from it, from left to right and from bottom to top, there is an ascending branch of the golden ratio. The main diagonal crosses the vertical row of numbers at an angle of 45 degrees, forming, together with the other diagonal, vertical and horizontal rows, a double cross.
NOT ORGIES, BUT ALL
- Just with the logic of fathoms, not everything is clear. The abundance of various species, their disproportionality in a single multiplicity and disparity to any measuring instruments cause confusion. In addition, as far as I understand, there is no single minimum unit of measurement for all seedlings. By the way, where does the ancient Russian measuring system come from?
- Different authors define the time of its occurrence in different ways. According to some, most of the Slavs' fathoms were formed in the XII-XIII centuries and developed until about the XVII century. Some believe that it was collected from the world on a string, "brought to the Russian plain, probably long before the establishment of the Slavs there, in the III-II centuries BC, from Pergamum through the Greek colonies of Asia Minor." Someone believes that the fathom was brought to Ancient Russia from other neighboring or distant countries.
It is argued that the church fathom is based on the ancient Roman passes, the Greek one - Greek orgies, the great fathom - the Swedish boundary cubit, and the royal one - the Egyptian royal cubit … In other words, the Slavic people were not able to introduce a single measuring instrument and therefore unconsciously collected and disproportionately used the knowledge gained by neighboring peoples. From these positions, even the assumption of the possibility of the existence of a strict proportional system of ancient Russian fathoms seems simply incredible.
However, the prominent architect A. Piletsky managed to get a diagram showing the systemic dependence between the fathoms of Ancient Rus. Using it, he came to the construction of a system of proportions, which he conditionally called "Old Russian Sememer". A kind of numerical matrix was obtained. And its most important feature is that it first showed the deep essence of the ancient Russian fathoms, which, as it turned out, have a golden proportion!
Moreover, "Old Russian Vsemer" transforms separate - seemingly unrelated - measuring instruments of a certain length into a system of proportional lengths proportional to "gold", forming a field of interconnected numbers - a matrix. It also determines the numbers of the organic relationship of all fathoms. There are other features as well.
A. Piletsky's "Old Russian Vsemer" is the most important historical, cultural and architectural discovery of the 20th century in Russia. We have restored an extraordinary instrument. He defines the entire process of architectural creativity of antiquity. This tool allows you to get fundamentally new (more precisely - completely lost) numerical relationships that reflect the proportional "gold" combination of fathoms lengths.
Old Russian sazhens (according to A. Piletsky) in centimeters:
city - 284.8
untitled - 258.4
great - 244.0
Greek - 230.4
breech - 217.6
royal -197.4
church - 186.4
folk -176.0
masonry -159.7
simple - 157.8
small -142.4
untitled -134.5 …
- That is, we are talking about the multiplicity of all fathoms to the golden number - 1.618?..
- Quite right. And the multiplicity of all fathoms of the golden ratio unambiguously demonstrates the far-fetchedness of all kinds of reasoning about the borrowing of any random measuring instruments. Old Russian architects did not allow unreasonable or random sizes.
- The fact that the proportions of the golden section are distinguished by extremely high aesthetic qualities and determine the highest proportionality between the whole and its parts is known to many. But the question arises: where did the idea of dividing segments in extreme and average ratios come from, which makes it possible to obtain the golden number and proportion, which Leonardo da Vinci called the “golden ratio”?
- Already in Ancient Greece, on the basis of the golden number, by successively multiplying and dividing the base unit by the number 1.618, a series of 11 numbers was obtained, which has the name of the "golden series", infinite in both directions:
…; 0.034; 0.056; 0.090; 0.146; 0.236; 0.382; 0.618; 1,000; 1.618; 2.618; 4,236; …
Each number in this series is an irrational - infinite - sequence of numbers, rounded to four digits. What is the proper meaning of these numbers and what geometry they refer to is also unknown, and therefore these numbers stand on the sidelines of modern sciences.
- I wonder what the sazhen instrument looked like in Ancient Russia?
“Our ancestors used a metal belt as a“tape measure”or“meter”. But it could also be made of fabric.
- But the fabric was deformed - stretched or, for some reason, "dried out" …
- So what? If the belt was previously marked with knots, then it was deformed proportionally. But most often they used wooden tools. And in this, the fathom is qualitatively different from the meter, which is a static measuring unit, a standard designed to compare with itself all measured bodies.
Fathom proportions the process. He kind of revives them. Everything that moves lives and breathes in proportion. And the proportions of fathoms are mobile. Their dynamics prompted a true master to create a harmonious object. And the more spirituality the master possessed, the finer his feeling of the sublime and the uplifting, the more impressive the product of his work will be. Therefore, the structures of Ancient Russia are distinguished by such proportionality, proportionality and aesthetic beauty - with an ennobling effect!
WHAT IS LIVE
- Esotericism asserts: numbers and geometric shapes are divided into living and non-living. You, in principle, touch the same area.
- Wait a minute. From my point of view, the general drawback of the esoteric approach in this matter is the lack of unambiguous criteria for distinguishing living numbers and figures from similar non-living ones. As far as I know, in the publications of esotericists it is not reported what quality, and perhaps qualities, are capable of imparting to such abstract concepts as number and geometric figure, properties recognized for living and inanimate bodies.
- Maybe. And what is your understanding of the living and the inanimate, Anatoly Fedorovich? In fact. What can you say about the "living square" or …
- If you have been to church, you noticed that you have one state, mood - the feeling of being alive. And being in an ordinary - standard room, we do not perceive this state. What's the matter here? Having penetrated, for example, into the plan of the Church of the Assumption in Staraya Ladoga, we will see: something is wrong. For some reason, the walls of the temple "went" - they are clearly shifted relative to the axis. The dashing carelessness of the architect? Not at all.
Measured Angel of a living square on the plan of the Church of the Assumption (Staraya Ladoga).
Church of the Assumption (Staraya Ladoga), facade.
Here's the catch. Our vision is tuned to the perception of volume, we do not care, automatically, we see the walls at right angles. And being in a room built in Russian fathoms, we see that the room seems to be strictly square. However, if we change the position of the body, shifting our gaze to a different point, everything changes for us! There is no former symmetrical rigor. That is, when I move, the angle changes, but meanwhile the total proportions of the room angle remain unchanged. From the movement of the eyes, the room not only comes to life, but also changes its size before our eyes - of course, for the eye.
There has never been a strict parallelism in the old premises. Everywhere there were life-giving angles of inclination. These are the architectural subtleties, and the eye will certainly catch them. In addition, the mood comes from the walls, which are built on triple fathoms. In such a room there is no negatively hidden - a standing wave that pumps out energy from a person. And when it is not there, the very design of the room sets the person up for a favorable - blissful resonance. On the other hand, a person himself, in a normal room, by his oscillations, excites a resonance that is beneficial for himself.
- And where does this cursed standing wave come from?
- It occurs when the parameters of the room are multiples of some value. In strictly parallel, symmetrical, and therefore dead rooms. And for Russian fathoms - there is no multiplicity, because fathoms themselves do not have it. They are dimensionless. And I will say this about a living square: this is that transitional border that separates the perception of a square from a rectangle. Or: this is a figure that is not yet a square, but no longer a rectangle. A living square has, as it were, movable edges, movement, and therefore lives. He is in a mobile state. And the inanimate is unchanging, static, all the time there is poor symmetry. There is no question of the golden ratio.
- Anatoly Fedorovich, how did the architect of Ancient Russia calculate the golden proportions?
- He didn't calculate anything. He knew nothing about them. And there was no need for that. Having "Vsemer", the architect chose the proportion of fathoms according to the rule of groups. Apparently, the ancient master did not even imagine that something could be counted or measured from someone. Because he worked not with commensurable centimeters, but with incommensurable fathoms. But he knew well that only by following the methodology - the canon, you can get a beautiful combination of proportions, harmony. And the proportions were not calculated, since they were originally laid down in the length of the fathoms. A set of several fathoms, chosen according to the canon, always constitutes a multiple of the golden number.
WHO IS WITHOUT HOLINESS, AND WHO IS FROM GOD
- There is no doubt: fathoms are in gold, beautiful, harmonious … But still they disappeared. And why?
- Our ancient measuring system began to deteriorate since the time of Peter, who translated the Russian government fathom in exact proportion to the English feet. Initially, it was equal to 217.6 centimeters, but under Peter, it was reduced to 213.3 centimeters. Seven English feet were laid in the official fathom. By the beginning of the 19th century, the original Old Russian sap system was preserved only in church construction. Now the Church builds, like everyone else, using the metric system of measurement. And holiness is not being laid in it now.
- Let's go back to the past. And let's make it clear: what was primarily taken into account during the construction? Did the ancient craftsmen use any special principles in the construction of objects?
- Of course, there were a lot of them. So, if we now build anything we want 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 dimensions in height: one was mundane, and the other was hidden, sacred.
- That is, the same height was measured twice with different fathoms?
- Yes, but in the secular version (for laymen) an even number of some fathoms was taken into account. There could be 12, 14, 16 and so on. And sacred height meant striving for God. And this height should have had an odd number of fathoms, but their multiplicity was equal to seven! The display of hidden proportions in the composition of spiritual structures was especially important for the masters. 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 standard of the Church. And the yardstick is always expressed in 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, sacred number. And the qualitative composition of the church being built as a temple of Christ, as a spiritual structure in its hidden proportions included elements of sacredness, containing a combined number of double measures: worldly, open to all, and hidden, multiples of seven. However, those who were not initiated into the essence of the sacraments of Christianity did not notice either duplication 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 were followed with such caution that 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 current architects do not guess either about the double dimensional structure of these masterpieces, or about the sacredness of the fathom.
Church of the Ascension (Kolomenskoye), 1528.
Church of Paraskeva-Friday in Novgorod, 1207.
- Can you provide any explanations 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 (seven double fathoms each 1.508 x 2) and seven large fathoms also fit in length. As you can see, this is also sacred. And again "Vsemer". So it turns out that the plans of the churches from the very beginning contained a certain mystery of sacred numbers in secret form.
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 erected taking into account A. Piletsky's "Vsemera" system. Therefore, it was widespread throughout Russia and was used from about the 10th century - judging only by the above-mentioned churches.
Church of the Savior-on-Nereditsa in Novgorod, 1198.
- Anatoly Fedorovich, is it possible that the ancients kept the data of all the fathoms of the "Semera" in memory? This, really, is not very hard to believe. Our brains don't work that way.
- Usually seven objects (numbers) and their relationships are well remembered. And "Vsemer" accommodates twice as much, plus a complex combination of groups. It is difficult to remember all this. In addition, in his daily practice, the architect mainly used a set of three to five fathoms. Over time, he forgot about the existence of others. That is why the reliable and secret transmission of "Semera" from generation to generation was possible only if it was fixed on even a relatively short-lived - iron or wooden - carrier.
… In 1970, during excavations in Novgorod, not far from the Church of Paraskeva Pyatnitsa, parts of a wooden yardstick were found in the layers of the early 13th century. The breakdown of the measure has been preserved in the form of two four-sided spruce bars measuring 28x36 mm in diameter and 22 and 32 centimeters long, tightly folded together. The three sides of the bar are marked with cells of three different lengths. But the bummer ends with the 13th large cell.
A fragment of the Novgorod yardstick.
- Are there any numbers, signs on the scale of the yardstick?
- The fact of the matter is that no. The numbers probably stayed on the lost part of the bummer. That is why the method of using the yardstick remains not entirely clear … There are three different scales on the same yardstick, and, according to Academician B. A. Rybakov, this means that we are dealing with an architectural design tool. And each of its scales, apparently, is proportional to some fathom. I began to understand and found out: the sum of the lengths of the cells on each side of the yardstick is equal to the city fathom (284.8 cm). Moreover, the measure “fit” the dimensions of all 14 fathoms of “Semera” (by the way, their unique system is commensurate with the entire set of geometrical dimensions of the Earth: distances from its center to the poles, to the equator, etc.).
And somehow the thought flashed by itself: what if the Novgorod yardstick is the oldest slide rule? Firstly, all variants of Russian fathoms "sit" in this yardstick. Secondly, along the ruler, we move the numbers relative to each other. And we observe something similar in the Novgorod yardstick.
- But the main thing is that there are no numerical values!
- Not. But there are "digital" divisions! The bar is divided into segments - into cells. And only their number matters. The cell is presented as a single unit. She is a kind of quantum. And the ratio of the numbers of quanta - cells to each other determines the structure of all created proportions. Have the right cage - and you will have a dramatic decrease in the number of operations to select the proportions of any structures, buildings. The truly "golden" work of the ancient Russian craftsman was reduced to adding and subtracting the numbers of the cells of the measure in a certain sequence.
In short, the breakdown of the Novgorod architect's yardstick is part of the instrument that served as the carrier of the "Vsemera", or "slide rule". Of course, not everyone owned it, but only the initiated. She was a hidden instrument.
- Anatoly Fedorovich, with the Novgorod slide rule, something is somehow clear. Is there any more data, evidence confirming the antiquity of Russian fathoms?
- Jerusalem Temple. When the righteous king David stood at the head of the Jewish people, the Lord conveyed to him through the prophet Nathan the following words: "Your son, whom I will set in your place on your throne, he will build a house for My name" (1 Kings 5: 5).
Time passed, and the son of David, King Solomon, entered the Jewish throne. History has preserved evidence of his wisdom for centuries. However, nothing remained of one of the king's most important creations - the legendary temple of Jerusalem …
This structure for that time was colossal: height - 16 meters, length -43 meters, width - 21 meters [The definition of the size of the temple is based on the Bible: “And he (Solomon) built a house of Lebanese wood, one hundred cubits long, fifty cubits, and thirty cubits high "(1 Kings 7,2) - Ed.]. All three numbers in the dimension of a meter carry the sacred figure for Christian culture - 7 (16; 1 + 6 = 7; 43; 4 + 3 = 7; 7 x 3 = 21). A thousand years before the birth of Christ, these numbers demonstrated the knowledge of the dimension that people will use three thousand years later.
- But this is too free manipulation of numbers …
- And the old Russian sazhens? Here new surprises open up: for example, each parameter of the Jerusalem Temple was measured not by two, but by three versions of fathoms! But the trinity is the basis of Christianity, in this case, testifying to the Divine Providence in the construction of the temple. I do not know of other structures that could be measured three times with different instruments.
And another thing is amazing. When planning the Jerusalem temple, seven different fathoms that subsequently existed in Russia were used. That is, the architect of the temple had at his hands an instrument similar to the Novgorod yardstick. By the way, about this architect himself. Information about him is based not only on Old Testament legends, but also on such a very widespread in the Middle Ages (including in Russian translation) apocrypha, like "The Legend of Solomon and Kitovras". Kitovras plays the role of the architect there (as the centaur was called in Russia). He is unusually wise in The Tale. Solomon says to Kitovras: “Not for the need of you brought me, but for the simplification of the outline of the holy of holies” (that is, “to inquire about the planning of the holy of holies,” the temple). And now Kitovras came to Solomon with a wooden yardstick four cubits long (“after dying a rod four cubits […] turn the rod down by the king in silence”). But in Ancient Russia, each fathom was subdivided into four cubits! So, maybe Kitovras "Tales" is not a centaur at all, but a master from the proto-Slavic, proto-Russian lands? An experienced master, the keeper of the tradition that was heard then and in distant Palestine …
Reconstruction of the Temple of Solomon, carried out by the French explorer Chillier (early XX century).
- It turns out that the system of measuring instruments, which we call the ancient Slavonic, existed even before Tsar Solomon?
- It turns out … The Egyptian pyramids were erected almost 3000 years before our era. They still remain mysterious both in terms of construction technology and the knowledge that the builders of the pyramids possessed. One of the most intriguing is the mystery of the measuring instruments used to build in Ancient Egypt.
Erection of pyramids strictly verified in their geometric parameters (almost exact angles of 90 degrees, deviation of the sides of the base by only 2 - 3 centimeters with a length of more than 200 meters, observance of the angles of inclination of the sides for up to seconds, bringing the edges of the pyramids to one point at a height of more than 100 meters and etc.) indicates that builders have accurate measuring instruments and a well-developed technique for spatial measurement. The fact that for centuries archaeologists and scientists have not been able to determine the value of the ancient Egyptian analogue of the modern meter most likely indicates the absence of a single measuring instrument and the possible existence in Egypt of some similarity of the ancient Russian system of measuring instruments. And the question arises, could it be that in Ancient Egypt,and in Ancient Russia the same metrological system was used? But this is so! Calculations show: all rooms and objects of the pyramid complex in Giza were designed and erected using measuring instruments that fully correspond to those units of measurement that we call ancient Russian fathoms. For example, in the structure of the parameters of the Cheops pyramid, we find ten variants of Old Russian fathoms.
But that's not all. Even more ancient structures in Egypt - Osirion at 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 fathoms is of more than venerable age.
Osirion at Abydos. Egypt.
By the way, I have analyzed the famous Mexican pyramids, as well as the Tower of Babel. And all the same alignment - the ancient Russian measured system of sazhen. Everything matches.
AND OUR ANCESTORS BUILT PYRAMIDS IN ANCIENT EGYPT?
- From what, as it were, follows: Old Russian fathoms are a global reality?
- Worldwide "Vsemer". And the fact that we kept the golden fathom until the deadline is not an accident. This was our cross, given from Above. Nothing happens by accident. Each people is "given" some knowledge for their preservation and development.
In 1947-1948, the now little-known scientist Elvir Ivanovich Kucherenko, candidate of technical sciences and at the same time an expert in ancient measuring instruments and heraldry, found out during an expedition to the Samara Territory that the inhabitants of some local areas "remembered" how their distant ancestors built the famous Egyptian pyramids. How do you like this? Where did they get this? Let it be a kind of myth, but it is passed down from generation to generation. By the way, old-timers of Poltava and Bryansk regions speak about the same thing (EI Kucherenko told me about this himself, and this information appears in the general press for the first time).
Do you know how the weight of a haystack was measured in the same 40s in the Gorky region? 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 tossed it again, again figured something out, folded something. And so, say, seven times. And then he confidently says: the weight of the stack is one and a half tons. It didn't need to be checked. Everything is accurate. Where did he get this way of weighing? And the method is ancient Egyptian!
Let's go further. In 1927, our Academy of Sciences deciphered one of the ancient Egyptian papyri. It turned out that the mathematical account of multiplication was recorded in it. At the same time, an expedition returned from the Poltava region, conducting archaeological excavations there. One of the scientists, when he was a lodger with a local peasant, noticed how he thinks. And the owner of the hut considered it in a very strange way. And only later, after deciphering the papyrus, it turned out that the peasant was counting downright "from the papyrus"! How could a Poltava farmer know the ancient Egyptian account?
You are well aware of the mystery of the origin of writing. The most ancient is Sumerian. But by whom, where and when it was conceived and developed, it is not known [In the middle of the XX century, in the Balkan-Carpathian region (in places associated with the formation of the Proto-Slavic ethnos), not yet deciphered written monuments were found, which are thousands of years older than the Sumerian ones. - Ed.]. The Sumerians possessed a developed writing system, and it is clearer than it is clear: it was invented much earlier. And there is nothing incredible in the assumption that a highly developed civilization existed on Earth long before Sumer and Egypt. Here, for example, is the famous map of the Turkish admiral Piri Reis, on which a significant part of Antarctica is depicted in sufficient detail without any ice sheet. Discussions on this issue have not ceased to this day. But few people know about the discovery of the American scientist Charles Hapgood. Half a century ago, having built a modern-type map based on the Piri Reis projection system, he discovered that the prime meridian of this projection system - about 30 degrees east longitude - passes … through Lower Egypt, through the pyramid complex!
- Good. Let us, Anatoly Fedorovich, stop and at least answer ourselves: where does all this come from? Are you hinting at some kind of connection with some prehistoric civilizations, aliens? Or do you mean the Cosmic Intelligence?
- What do the aliens have to do with it? It seems to me like this: all the unexpected, inexplicable discoveries, all the hidden knowledge of our ancestors - including the amazing system of ancient Russian fathoms - all this has a Divine origin. After all, from God came the Word - that is, Knowledge … And I affirm not without reason: man himself could not discover such a perfect harmony as the golden proportions in the system of ancient Russian measurements.
We have an instrument of fabulous possibilities. With the help of the Russian matrix, we can not only create any objects within the golden proportions; there is a real opportunity to control the correctness of the course of a wide variety of technological processes associated with material production. That is, the very relationships of these processes will become internally beautiful, perfect, since they will obey the "golden yardstick" preserved for us by the architects of Ancient Russia …
Author: i_mar_a