Phenomenon of the Ancient Egypt
In the beginning of the 20th century in Saqqara (Egypt) archeologists had opened the crypt, in which the remnants of the Egyptian architect by name of Khesi-Ra were buried. In the literature this name often meets as Khesira. It is supposed that Khesi-Ra was the contemporary of Imhotep who lived in the period of the pharaoh Zoser (27th century BC) because in the crypt the printings of this pharaoh are found.
The wood boards-panels covered with a magnificent thread were extracted from the crypt alongside with different material assets. In total there were in the crypt 11 boards; among them only 5 boards were preserved; the remaining panels are completely broken down because of a moisture reached to the crypt.
On all preserved panels architect Khesi-Ra surrounded with different figures having the symbolical significance (Fig.1) is figured.
A long time assigning of panels from Khesi-Ra crypt was vague. At first the Egyptologists accepted these panels for false doors. However, since the 60th years of the 20th century a situation with the panels began to be elucidated. In the beginning of the 60th the Russian architect Shevelev paid his attention that at one of the panels the staffs, which hold the architect in his hands, relate between themselves as , that is as the small side and the diagonal of the rectangle with side ratio of 1:2 ("two-adjacent square"). Just this observation becames the initial point for researches of other Russian architect Shmelev who made careful geometrical analysis of Khesi-Ra's panels and as a result came to sensational discovery described in the brochure "Phenomenon of Ancient Egypt" (1993).
But let's give a word to the author of the discovery:
"But now, after the comprehensive and argued analysis by the method of proportions we get good causes to assert that Khesi-Ra's panels are the harmony rules encoded by geometry language ...
So, in our hands we have the concrete material evidences, which shows us by "plain text" the highest level of abstract thought of the Ancient Egypt intellectuals. The artist cutting the panels with amazing accuracy, jeweler refinement and masterly ingenuity demonstrated the rule of the "Golden Section" in its broadest range of variations. In outcome it was born the "GOLDEN SYMPHONY" presented by the ensemble of the highly artistic works, which testifies not only ingenious talents of their creator, but also verifies convincingly that the author was to let in on the secret of harmony. This genius was of the "Golden Business Craftsman" by the name of Khesi-Ra".
But who was Khesi-Ra? The ancient texts informed us that Khesi-Ra was "a Chief of Destius and a Chief of Boot, a Chief of doctors, a writer of the pharaoh, a priest of Gor, a main architect of the pharaoh, a Supreme Chief of South Tens, and a carver".
Analyzing the listed above Khesi-Ra regalia Shmelev pays a special attention to the fact that that Khesi-Ra was the priest of Gor. In the Ancient Egypt Gor was considered as the God of Harmony and therefore to be the priest of Gor means to execute functions of the keeper of Harmony.
As follows from his name, Khesi-Ra was dedicated in the rank of the God of Ra (God of the Sun). Shmelev guesses what Khesi-Ra could get this high award for "development of aesthetic ... principles in the canon system, reflecting the harmonic fundamentals of the Universe ... The orientation on the harmonic principle opened for the Ancient Egypt civilization the path to a unprecedented flowering of culture; this flowering falls to period of Zoser-pharaoh when the system of written signs was completely added up. Therefore it is possible, that the Zoser-pyramid became the first experimental pyramid, behind which according to the program designed under Khesi-Ra supervision followed a building of the unified complex of the Great pyramids in Giza".
And the last quotation from Shmelev's brochure:
"It is necessary only to recognize, that the Ancient Egypt civilization is the super-civilization studied by us extremely superficially and demanded on qualitatively new approach to development of its richest heritage ...
The outcomes of researches of Khesi-Ra's panels demonstrate that the sources of modern science and culture are in boundless stratums of a history feeding creativity of the craftsmen of our days by great ideas, which a long time inspired aspirations of the outstanding representatives of mankind. And our purpose is do not lose a unity of a binding thread ".