Kazimir Malevich’s Negative Theology and Mystical Suprematism

This article examines Kazimir Malevich’s Suprematist art in the context of negative (apophatic) theology, as a crucial tool analyzing both artist’s theoretical conclusions and his new visual optics. Our analysis rests on point that artist intuitively moved towards recognizing ineffability multidimensional universe perceiving God Spiritual Absolute. In attempt to see invisible formulas Emptiness Nothingness, Malevich turned primary forms geometric abstraction—the square, circle cross—which he endows with symbolic concepts meanings. treats Suprematism method With Black Square seen face God, patterns theology rise become philosophical formula importance. Mystical series (1920–1922) confirms presence complex metaphysical reflection apophatic thought art. Not only does contain icon paraphrases Christian symbolism cross mandorla, but it also advances faith modern times, since presents universals “the future” energy non-objective