The Pyramid itself, its shape and configuration, are really outstanding phenomenas.

Perhaps, you have heard, that there are some certain places in the Pyramid, where organic substances can be stored for infinite time. There are also such places, where a person, being placed to for a long time, begins to feel extremely nervous.

But besides, such areas can be found in the Pyramids, that provides feelings, completely different to the mentioned above: e.g., stimulating human's artistic activity, or strengthen up his mental abilities.

If we consider the geometry of the Pyramid, we'll discover, that the problem can be easily described with a simple method. To do this, let us consult the book by I. P. Shmelev "An Architect of Pharaoh" (published in 1993) as well as his lectures. (I. P. Shmelev is a professional architect and an author of a publication on the topic of harmony. Delivers lectures on the subject said at one of the Universities.)

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The Pyramid itself, its shape and configuration, are really outstanding phenomenas.

Supporting the theory of harmonic resonance, offered by Shmelev, we suppose, that the Pyramid appears to be a resonator and generator, and its structure can influence positively on a human.

Probably, the Pyramid was created by its architects as a powerful instrument for influencing on the psycho-physical human structure, and not on that one of a single man, but on plenty of them.

Being resonators, the Pyramids also appear to be peculiar antennas or systems, that transfer the energy from one dimension into another.

The Wands, which were used by priests and pharaohs, and the Pyramids itself were created according to the proportions of "The Golden Section". And it was this way of creation that ensured the intertuning of objects one to another. It is necessary to stress, that the whole physical and energetic structures of a human body obey the law of "The Golden Section".

Suffice it to recall that in ancient times the laws of geometry were studied in very great depth and particular attention was devoted to the triangle with sides in the ratio 3:4:5.

Today we are well aware that the hypotenuse of such a triangle is a fundamental concept relating directly to the question of harmony. And anything we say about harmony is associated first and foremost with sound. Sound is what human beings are immediately attuned to, irrespective of their cultural background, level of education or intelligence.

In this context there are a number of curious facts that need to be pointed out. One is that when a baby comes into the world its first cry, no matter what its timbre or volume, has as a rule the frequency of A. Another is that those people who have "perfect pitch" relate other notes back to A. The sound of A is then a kind of yardstick frequency. It is also known that the average distance between the human eardrums is an exact fraction of the wavelength of A. The wavelength of A is 78 centimeters. Divide that by four and you get the distance in question.
Graphic illustration of
the resonant ratio principal.

Frequencies are resonant when the one wavelength is an exact multiple of the other. That means that nature has constructed the human hearing apparatus is such a way that it is tuned to the frequency of A, which plays a prime role in the musical scale.

The pyramid is interesting for the fact that its shape contains no vertical planes as in ordinary architecture, but inclined ones instead. Therefore if you make a cross-section of a pyramid, you get a triangle, or two right-angled triangles back to back. And since you have a right-angled triangle, then you will recognize the position of the hypotenuse. What is the hypotenuse? In respect of a function or phenomenon the hypotenuse expresses the rate of a process, that is to say the frequency (which is characteristic for vibratory processes).

The pyramids pose a host of puzzles, one of which is why they were built. We were taught to regard them as the tombs of pharaohs, but still today the actual burial-place has not been discovered in a single pyramid. It is just not there. The question then arises: for what purpose were such gigantic constructions put up, if not to glorify the pharaoh as God's representative on Earth?

Not so long ago, Japanese researchers tried to build a pyramid only 11 meters tall, using the construction methods employed (according to Herodotus) in Ancient Egypt a few thousand years ago, and they were unable to bring the four faces of the pyramid together to a single point. The height of the tallest pyramid at Giza is 146 meters, yet it comes to a point. That naturally prompts the question: why build in this manner, if it is so difficult and laborious?

The key to understanding the laws that formed the basis for the construction of the pyramids is provided by the legendary tablets. Legendary because there is a tradition that the Ancient Egyptians expounded all their knowledge on tablets. At the beginning of the century Quibell's expedition to Saqqara discovered the tomb of an Ancient Egyptian architect from which they extracted a set of wooden boards covered in carving.
Judging by the number of niches in which the panels stood, there were originally eleven of them.
The order in which the panels were placed in the tomb of Hesi-Ra follows what is known as the Lucas sequence. They are the figures obtained from adding and subtracting the ordinal numbers that form the Golden Section sequence. The images presented on the panels follow the same pulsating rhythm or, as the Ancient Egyptians themselves said, the KA-BA rhythm.

In the Ancient Egyptian conceptual system, BA refers to the real, physical object or person; KA is what makes up our energy shell. And from the state of the KA it is possible to determine precisely the psychological and physical condition of the person, which organs are damaged, and so on. In short, it is a particular energetic-informational structure in which everything is reflected.

The panels in question have proved to be something unique. Several layers of information can be traced on them, providing the key to recognition of the fact that the Ancient Egyptians knew all about the Golden Section long before Pythagoras.

Today we know from measurements that have been taken that the principle of the Golden Section was used in the construction of all the great pyramids.

Another question arises. It is not easy to produce a structure like a pyramid, you need to have a specific constructional technology suited to the purpose, but beyond that its geometrical structure incorporates the irrational ratios of the Golden Section, which are more difficult than ordinary whole numbers. Why?

And then today we find out that the whole musical scale, the whole sonic temperament, is subordinated to the same law of the Golden Section.

Can that really be mere chance or a peculiarity of mankind alone? No, the same principle governs the orbital periods of the planets in the Solar System, the musical scale is founded on it, the system of chemical elements and indeed everything connected with natural systems obeys that law.

The wands held in the left hand of the priest who is depicted on the first main panel are shown in a ratio connected with the frequency of A. The standard value accepted for the pitch of A today is 440 Hz, but 441 Hz is more precise. It is astonishing that no-one particularly noticed that if you place the figures 441 after a decimal point, i.e. 0.441, what you get is a function of the Golden Section.

The wands held in the left hand of the priest who is depicted on the first main panel are shown in a ratio connected with the frequency of A. The standard value accepted for the pitch of A today is 440 Hz, but 441 Hz is more precise. It is astonishing that no-one particularly noticed that if you place the figures 441 after a decimal point, i.e. 0.441, what you get is a function of the Golden Section.

Knowing all that, we arrive at an interesting revelation. Not only do these panels explain the principle of using the Golden Section, they also present tools that are elementarily simple, yet work like a computer.

Our arms themselves are already tools of the same kind as the "magic wand" depicted on the tablets. It turns out that this tool makes it possible to calculate any value of the Golden Section directly as a length, without using any complicated mathematical formulae, just manipulating the "magic wand", adding on and taking away.

You get the feeling that human beings were created to some kind of standard. It would be more correct, however, to say that human beings could not have formed differently for the simple reason that they appeared in an environment that imposes those parameters, and the values of the Golden Section bear a direct relation to what we call "harmonic resonance". Anything related to resonant phenomena must in the most general terms be connected with the functions of the Golden Section. Because nature works in the simplest, most economical, most effective, most colorful and most diverse manner - using the "Golden Section".

Today it is possible to say with complete certainty than the knowledge encoded on the Hesi-Ra panels formed the basis for the construction of the pyramids. It represents the missing link that was needed in order to be able to state that the pyramids were built on the level of exact science.

ОIt is very important that the ration between the dimensions of the two rods in the priest's left hand is such that their product is 0.441, or the frequency of A. The calculation is quite simple. The two rods (in left hand) are in the proportion (measure) 0.5 and 0.882. Multiplying those two values, 0.5 x 0.882 = 0.441.

This panel shows a table with what Egyptologists tell us are sacrificial loaves on it. We have here a priest of Horus. In the "Sacred Triangle" Horus was characterized by the hypotenuse, the harmonious element. To be a priest of Horus meant to be the Guardian of the Knowledge of Harmony. And harmony is the thing that embraces absolutely all spheres of activity and knowledge. This priest (who was also an architect) was the number one person in the Ancient Egyptian civilization, so important that information about him was not distributed anywhere. He was a man of mystery. Hesi-Ra means "Marked Out by the Sun".

It would seem that what is on the table is not sacrificial loaves but some sort of tuning device set to the pitch of A. Confirmation of this is the fact that the distance between the table-top on which the device stands and the floor is precisely 0.441 of the corresponding standard length. The device stands on a base, and that base is equal to 441. It follows that, if measuring rods are harmonized with a tuning device set to the pitch of A, then to measure with those rods means to give the space in question resonant qualities in tune with the musical scale. In other words, to introduce a system of linear-spatial parameters into a system of sonic harmony. It means working in the same key as natural phenomena through the principle of harmonic resonance, that is through the mechanisms that lie at the foundation of the universe.