There were statues on every floor of the Timber Pagoda in Ying county, Shanxi province, but only 26 of them have survived．The pagoda was designed as a vertically rising Buddhist temple and the interior space of each of its successive layers was customized for the statues installed on each floor．Based on previous research， and through surveying and mapping of architecture and statuary (including the fifirst-flfloor mural) combined with geometric design analysis， this paper proposes the following： First, the interior space and statuary on every flfloor appear to follow clear geometric proportions evident in the relationship between flfloor height and statue height． Second, proportional relationships exist between all the statues installed on the same floor. Third, each of the 26 statues has ‘classical’ rules of proportion specifific to its category． Fourth, the ratio of third- and fifth-floor statue height to second- and fourth-floor statue height and to first-floor statue height is 3∶4∶5∶which corresponds to the Chinese interpretation of the Pythagorean theorem with gou equal to 3, gu equal to 4, and xian equal to 5,． This ratio fifits with the Buddhist doctrine reflflected in the arrangement of the statues on each flfloor． Fifth, the first-floor statue height is used as a module for generating not only the statue height on every floor but also the total pagoda height, which measures (without the base) six times this module. In summary, the most frequently used proportions for the design of interior space and placement of statues inside the pagoda are , 3∶2 or 5∶3 (or 8∶5) and 9∶5, and these ratios are all imbued with cultural meaning.For example，Zhoubi suanjing and Yingzao fashi both record the “rounded-square map” (yuanfang tu) and the “squared-circle map” (fangyuan tu)， which portray the ancient Chinese world view of a domeshaped heaven and a flat， square earth (tian yuan di fang) and can be understood in terms of these ratios. Another related aspect is ancient Chinese numerology that regards three as the heavenly number and two as the earthly number， with all other numbers being based on them (santian liangdi er yishu); and the numbers nine and fifive as denoting an honorable position (jiuwu zhizun). A fifinal thought that awaits further research is that the above-mentioned ratios also relate to Esoteric Buddhist mandalas and the Golden Ratio of Western mathematics and architectural design.