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 Russia were built, which have served for centuries and have retained their strong energy and, most importantly, their original appearance to this day.
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 “Golden Fathoms of Ancient Russia” 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 commensurate 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" fathom system, 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 the ancient Russian system of sazhens, 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 follow a standard design or focus on standard sizes and square meters that we are all used to. 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).
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 Russia 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 elbow ... In other words, the Slavic people were supposedly 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 Russia. This is a kind of numerical matrix, the most important feature of which is that for the first time it showed the deep essence of ancient Russian sazhens, which are based on the golden ratio!
It is known that in Russia 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 sazhens 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 Russia, they used a “measure” (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.
Russian 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.
And only some of the group of sazhens somewhat "violate" the general order (1.102 instead of 1.059; 1.187=1.309:1.102 instead of 1.236; 1.362=1.102x1.236 instead of 1.309), while being within the matrix, but in other rows.
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.
The columns of the matrix have a unique opportunity - it can also be used to determine the circumference, 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):
Let's add the values of a sazhen of the state, half a sazhen of the people and a small sazhen:
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):
* In the numerator, the size in the position with a raised hand, in the denominator - the height of the person.
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, three-memberedness is also distinguished: the upper segment - from the top 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. one.
Wurf proportions make it possible to identify groups of kinship relationships with a single initial beginning. Ordinary two-term proportions show only differences, while wurf proportions show the commonality of a certain set of three-term ratios.
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 using 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 Russia. 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.
For those who are especially curious:
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).
In addition, the "X" and "Y" axes will also be tied to the left corner of the matrix (Fig. 4). Further, it is easy to identify mathematical dependencies (2 and 3). As a result, we will be able to calculate any member of the matrix not only with respect to the central axes (2), but also in an arbitrary coordinate system (3) 10 .
at
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 the central coordinate system; 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 +∞.
For an arbitrary a0n, formula (2) will look like:
Where m is the number of the cell in which you want to determine the Ymk value.
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).
For any row, the relation
there is a constant value equal to the reciprocal of the constant coefficient χ0 =1.236. The column (k = -2) and row (n=4) reflect the proportions of the "golden wurf 11
"- 1.309. Another feature of the "Semera" matrix is that if instead of a natural series of numbers (which no one has 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 of nature.
According to the studies conducted by M. Marutaev, he identifies three laws of harmony 13 .
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 of the solar system; the ratio of born boys and girls in peacetime; 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 golden section rule 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 impact 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 Russia was not “formed” 1000 years ago during 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 the environment." Part III, Tomsk, 1988.; Victor Grebennikov "My World".
5 Chernyaev A.F. Gold of Ancient Russia. 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 of the International Association of 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. Building materials, equipment, technologies of the XXI century, No. 10, - p.18.
Appeal to ancient Russian traditions:
we build a "living" house
Have you ever paid attention to how your soul lives in prehistoric structures? And how are these religious buildings harmoniously combined? They attract our eyes, and we always want to think in them ... The fact is that in the distant past, ancient architects were worried about the unity of the world and the human soul. These two categories can reunite both in the bosom of nature and in a person's home. Only it should be created according to a special human measure - fathoms. According to this law, they erected buildings that still stand, untouched by time, while retaining their energy. How to build a house according to ancient Russian sazhens, we will tell in our material.
Where did the fathom come from
Have you ever wondered what rules determine the integrity of our universe? If we take a broader scale and look at the distance from space to the microcosm, then we can see certain geometric patterns that correspond to the rule of the golden section. Thus, the circulation of neighboring planets around the Sun is in harmony with the "golden" number - 1.618. Such a ratio can also be found in the structure of plants, birds, animals, and humans. There are also many examples in art, science and technology. All this serves as proof of the omnipresence of the golden (or divine) proportion, which is the highest manifestation of structural and functional unity.
But is there a relationship between fathoms and the golden ratio? It turns out there is. And this was proved by the prominent architect A. A. Piletsky, who combined 12 ancient sazhens (see table 1). They were obtained by averaging many samples of measuring instruments. The relationship of fathoms lies in the fact that their multiplicity is equal to the golden number (1.618) and its derivatives. If we divide the Greek sazhen by a small one, we get: 230.4 / 142.4≈1.618. Despite the canonical unity of this system, the ancient architects did not engage in mathematical calculations and did not calculate the golden proportions. Academician Anatoly Fedorovich Chernyaev in his book “Golden Fathoms of Ancient Russia” explained that there was no particular need for this: “Having “Semer”, he (the architect, - ed.) chose the commensurability of fathoms according to the rule of groups and according to that quality ( the significance of the church, for example), which was required by the object for its intended purpose. He did not even imagine, apparently, that something could be considered with an object, since he operated not with commensurate centimeters, but with incommensurable sazhens, and he knew that only by following the methodology - the canon - one can get a beautiful conjugation of proportions, harmony, object.
Let us briefly characterize the features of the fathom system proposed by Chernyaev (see Table 2). First, to measure segments smaller than sazhens, the latter are successively divided into two. For example, half a folk sazhen - a folk half-sazhen - 88 cm, a quarter of a sazhen - a folk cubit - 44 cm, one eighth of a folk fathom or half a cubit - 22 cm, and so on (division, the same for all fathoms). An important point: not a single building in Ancient Russia was built using only one type of fathoms. When measuring the length of objects, one sazhen was used, the width - another, the height - the third. The internal breakdown was carried out by the fourth sazhen, etc. This system formed the basis of the modern construction of houses according to sazhens.
"Inanimate" standard
The use of the standard measurement value - the meter - cannot cope with the tasks that sazhens so easily solve. Anatoly Fedorovich Chernyaev, in particular, spoke about this: “Our mathematicians proceed from the fact that the length, width and height are the same. And the system of sazhens was created for comparisons. That is, among the 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 keep this inequality, we will get the proportions of the structure, which will be commensurate with the proportions of the Earth. For example, the erected temple becomes harmonious with the Planet. And if we use an ordinary meter, then our structure will be inharmonious with it.
According to Mr. Chernyaev, there was no strict parallelism in the old premises. Everywhere there were life-giving angles of inclination. The whole mood came from the walls, which were erected in triple fathoms. In such a room there was no negative-hidden - standing wave, which took energy from a person. This wave can appear only in parallel and symmetrical rooms. There are no such clear boundaries in the structures erected according to the ancient Russian sazhens. Therefore, the very design of the room tuned the person to a favorable resonance.
Professional architect Marina Makarova spoke about the disadvantages of modern housing:
— Judge for yourself: the size of a personal space for a normal person is double the arm span (2x1.76=3.52), the height of the raised arm (2x2.176=4.352), a double pair of steps (2x1.345=2.69). Personal space should not be filled with anything and no one except the "owner" himself. Most residential "cells" do not satisfy this condition.
But much more important is the fact that buildings built without regard for harmony concentrate energy that is unfavorable for humans. The mechanism of action is approximately as follows: an irritated or upset person comes to his "cell" and "dumps" negative emotions on the household. Building structures erected without taking into account harmonic construction respond to this type of emotion.
- If the vibration frequency coincides, an increase in vibration can occur, which spreads over all structures, and now a slight skirmish is heard from the neighbors, feeding the negative background of the entire building. In a harmonious house, only positive emotions get spread, since the size of a sazhen coincides with exactly the frequency of the waves that is pleasing to our ear, which means that fluctuations that are favorable to us will spread. Everything else just fades away. Apparently, this is the reason for the effect of "goodness" and the calm that we experience when we get into old buildings - residential and special, - concluded Marina Makarova.
Changing the face of space
Creating a harmonious living environment is impossible without proportioning the parts of structures that correspond to the proportions of nature and man. If it was decided to build a house on your own, then with all the knowledge you have about the sazhen system, you still cannot become an architect. Since no one has canceled architectural knowledge, Marina Makarova notes. When building a traditional house, the process is extremely simple. Since the scheme for building a plan has been polished by many generations and provides for the solution of many vital issues - from keeping warm to organizing the flow of vital energies. But if an individual house is conceived, then the future owner will have to solve many large and small problems.
You can entrust the construction of an individual house to the master. However, the option is not ruled out in which you yourself can act as the author and builder of your structure. The first thing to start with is to understand the geographical location of the building. Svetlana Ryabtseva, design engineer, student of A.F. Chernyaev, shared her vision:
— A person who knows how to reason is able to create a house — a unique design creation that reflects the harmony of the Universe in the comfort of a human dwelling. It is convenient for a house, like a person on vacation, not to be on a mountaintop, but on a hillock, preferably in a hollow so that the wind does not blow through the door, so that the places of stay are illuminated by the sun, especially when it is necessary for work. The windows of the bedroom, where the light is not so important, are conveniently located with an exit to the north.
- After the location of the future structure has been chosen, the owner and hostess draw up a sketch of the project of their house and choose the main three fathoms, which will later determine the width, length and height of the building. When constructing a building, it is best to use an even number of fathoms without adding half fathoms, etc. Determining the personal dimensions of the owner is quite 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 the row of fathoms (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 we choose 3 fathoms for building the volume of the building (length, width, height).
The choice of sazhens can take place in various ways. But the main criterion in determining the desired size are the feelings that arise in a person. If the owner likes what he does, then it is right. If it was decided to entrust the work to the master, then the owner and hostess draw a house project or find a house project they like on the Internet. All other concerns fall on the shoulders of the master, who brings this project into a planted form, taking into account the requirements and desires of the owners.
Harmony in the city
Let's go back to the bustling metropolis. Today we are seeing how the urban present does not stand still: cities are growing not so much in breadth, but up. Only compact glass towers do not correspond in any way with ancient buildings, in which the coefficient of harmony occupies a special place. The architects of that time could remember about fathoms and "golden proportions", expressing the result in meters. If the buildings of the 19th - early 20th centuries still retain traces of humane design and construction, then the buildings of the second half of the 20th century do not possess such qualities, Marina Makarova states.
But it is still possible to harmonize a typical apartment. Svetlana Ryabtseva told about this:
- To do this, you need to calculate the correct options for combining length, width and height in different fathoms. The height is adjusted using suspended ceilings, and the length and width can be changed by making the built-in furniture the desired size. Asymmetric patterns on the walls, made according to fathoms, have a positive effect on human energy.
Let's do an experiment. We conditionally designate the parameters of the room we have chosen: height - 2.5 m, width - 2 m, length - 4 m. Let's correlate these values with the table of A.F. Chernyaev and calculate the dimensions of the room in parts of fathoms. If the height of the room is 2.5 m, then you can choose a harmonious height of 2.44 - 4 cubits of a great fathom. For a width of 2 m, we will choose 1.97 - 4 cubits of a royal fathom, for a length of 4 m - 3.194 - 4 masonry cubits. Let's check the ratio: 2.44 / 1.97 = 1.238 - 1.236 double gold (a function of 1.618), 3.194 / 1.97 = 1.621 - 1.618 (golden ratio with an allowable error of 3%). We order a built-in wardrobe with a depth of 80 cm or 2 by 40 cm on both sides, and the room is ready by sazhens.
“A person will be more comfortable in an apartment furnished according to sazhens, although it still will not replace his own full-fledged harmonious home,” Svetlana Ryabtseva continues to argue. - The typical residential building itself can be compared with a detuned orchestra or a musical instrument - if one part (apartment) sounds in resonance with the planet, will it be heard in the general confusion of the sounds of this building?
It is possible that the answers to this question may be different. The attitude to life can also be different. Since the desire to make your stay on this earth correlates with the individual choice of each.
Table 1. A set of 12 ancient fathoms according to A. A. Piletsky (in cm)
|
city sazhen |
|
|
sazhen without a name |
|
|
fathom great |
|
|
Greek |
|
|
government |
|
|
church |
|
|
folk |
|
|
masonry |
|
|
Untitled |
Table 2. A set of fathoms according to A.F. Chernyaev (in cm)
|
The name of the sazhen |
half a fathom |
|||||
|
masonry |
||||||
|
Egyptian |
||||||
|
Chernyaeva |
||||||
|
Folk |
||||||
|
Church |
Divine Proportion "One, two, three, five, eight..."
I had a dream: “I am with my family on the banks of the river. The river is golden banks. Beautiful! My tribe of Russei came to planet Earth from another star system.
The area of our parish is the northwestern part of the large mainland. Communication between us occurs for the most part not with the help of speech, but with images - telepathically. The border of the ice is shifting and the tribe is wandering. When moving around the area, we get a lot of help from mammoths.
Our main work is to animate and spiritualize the Earth. Due to the developed connection with the Universe, we collect information from the Universe and transmit it to the Earth - information, first of all, of a sensual nature.
The leader, or rather the coordinator, instructed me to co-Create Programs for adaptation to life on the planet. To communicate with other tribes, he created the Alphabet Program. He put into letters, symbols, images of his understanding of the Universe, gave precise and deep definitions of phenomena and objects.
It is warm now, but the cold will come soon and we need to build a living warm house. Started creating the Arithmetic Program.
The wife tells the children the Tale: “Grandfather sowed a turnip; I went to tear the turnip, grabbed the turnip: pull, pull, can’t pull it out! Called grandpa grandma; grandma pulling grandfather, grandfather pulling a turnip, pull - pull, they can’t pull! Granddaughter came; granddaughter for grandmother, grandmother for grandfather, grandfather for turnip, pull, pull, they can’t pull! The bitch came; a bitch for a granddaughter, a granddaughter for a grandmother, a grandmother for a grandfather, a grandfather for a turnip, pull, pull, they cannot pull! The leg has arrived. A leg for a bitch, a bitch for a granddaughter, a granddaughter for a grandmother, a grandmother for a grandfather, a grandfather for a turnip, pull, pull, they cannot pull! Another leg came; another leg by leg, a leg by a bitch, a bitch by a granddaughter, a granddaughter by a grandmother, a grandmother by a grandfather, a grandfather by a turnip, pull-pull, they can’t pull it out! (and so on up to the fifth leg). The fifth leg has arrived. Five legs for four, four legs for three, three legs for two, two legs for a leg, a leg for a bitch, a bitch for a granddaughter, a granddaughter for a grandmother, a grandmother for a grandfather, a grandfather for a turnip, pull-pull: they pulled a turnip.
I receive from my beloved Woman knowledge that is outside my coordinate system.
Women's perception of information from the Universe is a mixture of chaos and order, light and darkness. I include the unknown Feminine into the known Masculine, I structure the information.
Measures are needed to build a house. The measure of all Meryls is Man, created in the Image and likeness of the Creator. In my hands I have a rope and a ruler. I applied “features” to the ruler with a step in the phalanx of the little finger.
On the sand I build the Biomatrix "Milk", which means "We are from the Cola People." With a radius equal to 88 phalanxes of the little finger (the length of my step), as a unit radius, I built a circle, and placed the same one nearby. He outlined another orbital circle around the two with an orbital radius equal to two Units (2 × 88). He drew a line of Diameter through the centers A1, A2, A3, and then divided this line into eight equal parts. From these points and the points of the Centers, I set perpendiculars to the intersection with the orbital circle. For further constructions, I use a semicircle, since the principle of mirror symmetry along the diameter line is observed. The diameter line also gives two points of intersection with the orbital circle. He connected the obtained points with the center A1 of the first circle and designated them in order by numbers from one to nine with the index (degree) 1/2.
I received an orbital circle broken into 8 unequal parts with the intersection points of perpendiculars and Pravnikov (from Center A1). Calculated the value of each Pravonik, which is equal to the value of the Proportion with Unit Radius:
Pravnik A1-9; 9½ = 3, DedKa.
Pravnik A1-8; 8½ \u003d 2.8 ..., BabKa.
Pravnik A1-7; 7½ \u003d 2.6 ..., Granddaughter.
Pravnik A1-6; 6½ \u003d 2.4 ..., Bitch.
Pravnik A1-5; 5½ = 2.2…, Leg.
Pravnik A1-4; 4½ = 2,…….2-Leg.
Pravnik A1-3; 3½ = 1.7…, 3-leg.
Pravnik A1-2; 2½ = 1.4…, 4-leg.
Pravnik A1-1; 1½ = 1.5-leg.
Received the Bases of numbers from 1 to 9 Biomatrix "Milk". The operation of obtaining the Number in the Power of 1/2 will be called the Operation of Extracting the Base of the Number.
He calculated the PHI Proportion as the arithmetic mean of the base of the number 5½ with Unit Radius: PHI = (1 + 5½)/2 = 1.618… and called the Divine Proportion, or "Cornucopia".
He measured the length of a circle with a string and calculated its ratio to the diameter of this circle. This ratio is called the Number π = 3.14… - The Foundation of the Universe.
He calculated the ratio of the diameter of the orbital circle to the length of a circle with a unit radius: 4/2π = 2/π = 0.636 and called this Number πій.
The first Meryl for the creation of a living House was chosen by Pravnik with the base 2 (2-Leg), which
is equal to two Unit Radii or 2×88 ft. = 176 phalanges (two steps, my height). He named the first Merilo - Fathom of the People.
The second Measure was obtained by increasing the Fathom of the People in the Divine Proportion PHI:
176 x 1.618 = 284.8 lbs. and named the Garden Sazhen. This is the largest fathom in the Meryl system.
I received the third Standard from Number πіy: the height of my son Ptolemy is 63.5 pounds. named Elbow
Ptolemy, doubled and received the Fathom of Rod = 127 f. This is the smallest fathom in the Meryl system. He doubled the Fathom of the Family, received the fourth Merilo and called it the name of his beloved Woman:
Fathom of Anastasia = 254 lb.
Merila received the rest from Rod's Fathoms. He divided the sazhens into six groups of three sazhens per group. The groups are separated by the Divine Proportion PHI. Within the group, fathoms are divided by Proportion
1.236 = (5½-1)".
I wake up, my beloved woman wakes me up. It is necessary to milk the goat, and the goat "Tsvetik" butts.
I'm going with my wife to knock "Flower" on the horns with love. A son runs nearby with a children's rhyme:
“One, Two, Three, and Five, and Eight! It’s still there, we don’t ask!” It's time to teach him the "Principles of Orthodox Arithmetic." The family home is waking up!
***
Chernyaev A.F. divides a row of fathoms into groups of three fathoms in a group.
I added a group of fathoms No. 6: Megre V.N. - 273.6 cm, Minina V.M. - 221.4 cm, Vedruss - 179.1 cm. A separate group, called "KON", includes fathoms: Policeman - 284.8 cm, Anastasia - 254.0 cm, Rod - 127 cm.
Group of sazhens "KON"
Policeman - 284.8 cm.
Anastasia - 254.0 cm.
Rod - 127 cm.
Fathom group No. 1:
Piletsky - 205.5 cm.
Egyptian - 166.3 cm.
Smaller - 134.5 cm.
Fathom group No. 2:
Treasury - 217.6 cm.
Folk - 176.0 cm.
Small - 142.4 cm.
Fathom group No. 3:
Greek - 230.4 cm.
Church - 186.4 cm.
Simple - 150.8 cm.
Fathom group No. 4:
Great - 244.0 cm.
Royal - 197.4 cm.
Masonry - 159.7 cm.
Fathom group No. 5:
Large - 258.4 cm.
Pharaoh - 209.1 cm.
Chernyaeva A.F. - 169.1 cm.
Fathom group No. 6:
Megre V.N. - 273.6 cm.
Minina V.M. - 221.4 cm.
Vedrussa - 179.1 cm.
What do the sazhens of the "KON" group represent? Divide the length of fathoms by the number 127. We get a triple of numbers: 1; 2; 2.2425. The number 2.2425 is equal to 5½ (with an absolute error of 0.006). Here is the Proportion which appears as the arithmetic mean of the Unit Radius with base 5½: PHI = (1 + 5½)/2 = 1.618… Divine Proportion.
The proportion of fathoms in KONE sets the algorithm for finding the remaining fathoms. The fathom of the Family is the lower boundary of the fathom system. Fathom Gorodovaya - the upper boundary. The sazhen of Anastasia (or personal, nominal) is divided into component parts (half a sazhen, cubit, span, metacarpus, vershok) and is involved in architectural construction. Fathoms of Group No. 1 are obtained from the fathom of Rod by multiplying by PHI = 1.618 ... and then dividing in the group by 1.236 = (5½-1) = 2 / PHI. This is the step of the base line in the "Russian Matrix 5", which is given by Academician Chernyaev A.F. in the book “Gold of Ancient Russia. The Russian matrix is the basis of the golden proportions. Each next group of sazhens is obtained by multiplying the smaller sazhens of the previous group by PHI.
Let's look at the list of fathoms in ascending order:
1. Roda - 1,270 m.
2. Smaller - 1.345 m.
3. Small - 1.424 m.
4. Simple - 1.508 m.
5. Masonry - 1.597 m.
6. Egyptian - 1.663 m.
7. Chernyaeva A.F. - 1.691 m.
8. Folk - 1,760 m.
9. Vedrussa - 1,791 m.
10. Church - 1,864 m.
11. Tsarskaya - 1.974 m.
12. Piletsky - 2.055 m.
13. Pharaoh - 2.091 m.
14. Treasury - 2.176 m.
15. Minina V.M. - 2.214 m.
16. Greek - 2.304 m.
17. Great - 2,440
18. Anastasia - 2.540 m.
19. Large - 2.584 m.
20. Megre V.N. - 2.736 m.
21. Policeman - 2.848 m.
The sazhen of the Family is in the 1st position, the sazhen Narodnaya is in the 8th position, the sazhen of the Policeman is in the 21st. The difference between 21 and 8 is 13. Ratio: 8/5 = 1.6; 13/8 = 1.625; 21/13 \u003d 1.615 - FI. The position of the People's fathom is the number of the Divine Proportion PHI: 1, 2, 3, 5, 8, 13, 21, ... .
If our distant ancestor took the Biomatrix "Milk" as the basis for building a fathom system,
which is set out in the "Principles of Orthodox Arithmetic", and calculated the national sazhen 2 × 88 = 176 f. (centimeters), then getting the rest of the fathoms was a simple matter:
176 / 1.236 \u003d 142.4 - fathom Small;
176 × 1.236 \u003d 217.6 - fathoms of the State.
The remaining groups of fathoms are obtained by multiplying the smaller fathom by PHI = 1.618 and dividing the larger fathom by 1.618. Within the group, fathoms are divided in the proportion of 1.236.
Let's look at the number 88 (step). If we rotate it by 90˚, we get a double sign of "Infinity" ∞. A sazhen is a segment - a process of infinite length, not measured to either end, it cannot be measured by any measuring instrument. A segment that has one end at infinity has another end that goes to infinity.
The measure of a square sazhen is derived from the Simple sazhen: 150.8 × 2½ = 150.8 × 1.4142 = 213.26 cm.
There may be a question about "Legs" in the fairy tale "Turnip". Legs are the truss systems of the Slavs.
If you draw a circle, break it into 16 equal parts and draw 14 chords from one point, then 7 pairs of chords are rafters for the construction of outbuildings. The angle at the top of a pair of rafters is:
1 Leg - 157.5; 2 leg - 135; 3 Leg -112.5; 4 leg - 90; 5 leg - 67.5; 6 leg - 45; 7 Leg - 22.5 degrees.
For outbuildings, rafter pairs of legs No. 1, 2, 3, 4 were used. For the house, rafter pairs of legs No. 5 were used. Currently, a rafter length of 6 meters (150 × 50 × 6000 mm) is often used. Then the width of the house for the rafter pair of legs No. 5 will be 676 cm - 4 fathoms Chernyaev A.F. The height of the roof ridge is 5 meters.
Our distant ancestor proved to be the Great Co-Creator in building the Meryl of his space. He included the Divine Proportion PHI = 1.618… and the Number π = 3.14159… — the Foundation of the Universe — into the basis of the system of ancient Russian sazhens. But first he created the Proto-language of the Slavs!
“The Russian Word is a mathematical formula, a language of commands that are understandable to our subconscious. That our proverbs and sayings, fairy tales and riddles are a real storehouse of Knowledge left to us by our Ancestors in a form that cannot be lost or distorted - because they are passed from mouth to mouth through Generations. Learn Russian Language - the Language of Life and the Future, the Language of Infinite Creative Happiness! Consider that this is your Salvation!”
Sergei, son of Ivan Lazarev.
Chernyaev A.F.
Anatoly Fedorovich Chernyaev (Russia, Kuibyshev 1937-2013). Graduated from the Penza Engineering and Construction Institute and postgraduate studies at the Central Research Experimental and Design Institute for Rural Construction. He worked as a foreman, chief engineer, researcher. Scientific areas of research - mechanics, geometry, gravity, the system of ancient Russian sazhens, golden proportions. A.F. Chernyaev is a versatile person, the author of many popular books and articles, a scientist known throughout the world for his extraordinary approach to everything, new ideas and an unexpected look at the familiar. 
Fathom or meter
Anatoly Fedorovich Chernyaev in his book "The Golden Fathoms of Ancient Russia" (2007) tells in detail about his research in the field of ancient Russian measuring instruments, golden proportions and the history of their application.
In ancient Russia (in architectural proportioning), a set of tools - sazhens - was used as units of measurement. There were several of them, of different lengths, they were disproportionate to each other and were used together, at the same time.
The ratios of distances in nature were taken as the basis for fathoms, i.e. proportions (distance from foot to hand, from hand to hand, etc.). Most likely, people did not know that there was a number F - 1.618, called the "golden section". Nevertheless, this proportion is inherent in nature everywhere.
The multiplicity of all fathoms to the “golden number” (“golden proportions”) clearly demonstrates the far-fetchedness of all kinds of reasoning about borrowing any random measuring instruments into this system ... Chernyaev A.F.
Objects made taking into account the golden proportions have high aesthetic qualities and have a beneficial effect on a person. We can say that harmony is measurable, and one of the measures of harmony is a human measure - a sazhen.
The individual harmony of architectural structures fits into the spatial and energy interactions of nature and causes a favorable influence of the environment on the mental and social state of human society.
If the proportions of the objects and structures around us are made on the basis of standard, random measures, as in most modern structures, then a person finds himself in an environment the proportional structure of which, in its symmetry, is not characteristic of it.
An environment that does not have harmonious proportions will most often be rejected by the human being, such an environment will take away the strength of a person, and not give it away.
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.
At present, most architects in Russia have undeservedly forgotten the method of designing by sazhens and use the metric system.
What is a meter? Let's look at some of its definitions:
- the length of a pendulum with a half-period of oscillation at a latitude of 45° equal to 1 s;
- one forty-millionth part of the Paris meridian (that is, one ten-millionth part of the distance from the north pole to the equator along the surface of the earth's ellipsoid at the longitude of Paris);
- the length of the path traveled by light in vacuum in (1/299792458) seconds.
It turns out that the meter is an artificially derived unit of measurement, which does not have a harmonious relation to the natural environment. Meter - static measuring unit, a standard designed to compare with itself all the measured bodies. Fathom is a commensurate process, which determines the proportionality of body parts to the process, and therefore to the body itself. The meter fixes the existence of proportions, killing them with static. The fathom measures the proportions by the process, enlivening them.
... the use of a standard meter in the design of figures as a single measuring tool (to determine the initial parameters of objects) contributes to the implicit appearance of reference sizes in these parameters ... and at the same time the transformation of formed figures into inanimate objects ... Ancient architects designed various parameters of structures, each with their own measure - a sazhen , since fathoms are incompatible with any standard of length. Chernyaev A.F.
On the construction of houses by sazhens
Tool - "Vsemer"
The ancient architect, as noted by A.F. Chernyaev, when designing structures, 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 - you can get a beautiful conjugation of proportions.
There are the following groups of fathoms: single, one and a half, double and two and a half. When designing, it is necessary to use only one group of fathoms. If you start designing, let's say, with one and a half, then all sizes should be one and a half. If using doubles, then all dimensions must be designed with doubles.
fathom table
Our ancestors designed the structure, starting from its highest point. If this is a church, then from the top of the cross, if it is a house, then this is the highest point of the ridge or the point of some other object that goes above the roof of the building. Let's say you made a house with a ridge, and put a turret at the end, which crawls out above the roof, in this case the height is taken from the top of the tower. Chimney pipe does not count. We start at the top, then proportion the width and then the length.
For more information about building a house according to sazhens, see Chernyaeva A.F.
Correspondence of form and content is the basis of housing construction
Our ancestors carefully kept and passed on the age-old wisdom and beauty, embodying them in temples and houses. Each house, built in compliance with the "golden" proportions, carried the harmony that filled the living energy of its inhabitants.
A person who is at any point inside such a structure does not notice asymmetry, it seems to dissolve in volume, but feels, contemplating the room, a certain movement of volume, its constant change, as if breathing. This effect calms him and creates spiritual comfort ... Chernyaev A.F.
In Russia, an osmerik or a six was placed everywhere. A house with eight or six corners (like a honeycomb in a beehive). And this is directly related to the harmony of the ascending and descending flows of power: the Earthly and Heavenly Yaris are alive (in the Eastern traditions of Yin and Yang), and the ancestors called it the nature of the Father and Mother, male and female energy with their spiraling. The buildings were mostly round in shape. Everything in house building has a certain importance, and the form is no exception. The location of the home is also critical.
Home is a place of Power that you create artificially.
Power, like water in a river, does not flow at a right angle, and therefore in the corners of today's brick, stone and panel houses, “negative” constantly accumulates, the current of power is disturbed there, without movement it fades, the river turns into a swamp. A permanent minus point is formed in the corner.
It is necessary to take into account the shape of the house, and the angle of the roof, as well as the material from which the house is built, and then the house can be given any properties - a healing (healing) house, a life-giving house (vital energy) - a Living house, a Temple house. It is important that the form of the structure corresponds to its content.
The trunk of a tree is essentially a retinue (coil, spiral, and vita - life) structure of tubular systems, since the entire trunk is pierced by bellies - channels through which juice flows - from the roots up the trunk to the leaves of the crown - throughout the tree. Depending on the purpose of the tree: to receive or give strength, its trunk acquired a left-handed or right-handed twist, the so-called “stripe”, in the process of growth. And because of this, the felled log became “right” or “left”. Thanks to the method of stacking logs in a log house, a continuous current of Zhiva and Jari was achieved in a spiral.
The roof closes the entire contour of the house. And here the angle of the roof already matters, or rather the corners, since there are many options for them in the canon of housing construction. A house was placed on one corner of the roof, and a barn (outbuilding) on the other. The house is designed to accommodate life with certain qualities. Thus, it is necessary to take into account the place of setting. There is an expression - "the house must be put on a stone", this is because the current of power intersects differently. It is not recommended to build houses on sand, because. is not a conductor and will not be in such a house of power.
The stove in the house, as its engine, must necessarily rely on the load-bearing beams of the floor, and not on an independent foundation - as is often the case now. Depending on how the stove stands in the house in relation to the entrance, to the right or to the left of it, the stove can be “spun” and “non-spun”, respectively.
It is worth noting how closely related the sciences of house building are by sazhens and by "".
Video lectures by Chernyaev A.F.
Below are video lectures by Anatoly Fedorovich Chernyaev on the topic of building a house according to the system of ancient Russian sazhens. The material is intended for all those who are going to build a house, bathhouse or other structure on their site.
