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qwerty, you got me, of course, very sorry, but the first and fourth - in 1929. 100%say it is impossible, but it is believed that after the invention Malevich Suprematism created such works, which show that he was to Suprematism came across a search ...
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До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.
Flower generally two.
Malevich is repeated a lot. For the Berlin exhibition is done, and the date stamped with the 14th and 12th where he was.
But Flower masterpiece, in my opinion.
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but now understand that when it was done, already difficult in my opinion ...
Yes, these dates have long engaged. But many have simply said, later repeated and all.
"In 1929, for the solo exhibition at the Tretyakov Gallery Malevich suddenly made a series of figurative paintings, presented to them as the work of the early period. But it soon became clear to many of one thing - Suprematist cycle is completed, Malevich began to return to fine art. To begin with, he just did voluntary repetition of earlier compositions: for example, the prototype pattern "on haymaking" served as stored in the Nizhny Novgorod Museum "Kosar". All the changes that have occurred in the life and work of Malevich, are ochevidnymi.Mnogie his works, and it is logical and mythological, represents a path from Impressionism to Suprematism. And after that, the last Soviet era, this has been confirmed by the author's dating of the paintings arrived. Such as:: "Spring - a lush garden - 1904 (an early example of creativity)," Sisters "- 1910 (sezannizm)," On the hayfield " - "motif in 1909 (the beginning of cubism)," Dressing Box "," station without stopping "- 1911 (cubism)," Black Square "- 1913" Woman with a rake "- 1915," Girl with a comb "and" Girl with a red shaft "- with original dates, 1932-1933. But in half a century, an amazing hoax Malevich was disclosed for the eye of the viewer. Issues relating to his creative evolution, which appeared already in the preparation of exhibitions in 1988, becoming increasingly becoming the most lives, existence of the artist's works in different exposures. Timid assumptions about the author's reconstruction in the late 1920's his career found new arguments and new supporters. In some catalogs and books began to appear late date of the creation of works (1928-1932), despite the author's paintings dating 1900 -- mi years. "(c)
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qwerty, you got me, of course, very sorry, but the first and fourth - in 1929. Can not say 100%, but it is believed that after the invention of Malevich Suprematism created such works, which show that he was to Suprematism came across searching ...
In principle, Cyril ahead of me, quite rightly pointing out that Malevich took a few repetitions to the show in 1929, but in this case the history of another and much simpler. In the late twenties, N. Punin, vozglavlyayshy in the Russian Museum Branch of the latest trends and managing the procurement committees of the museum and showed it to a vivid interest in Impressionist masters of the period of Russian avant-garde, and he asked Larionov and Malevich, with the request to sell Impressionist works, which was done . So - everything is just that these works were done only under the order. Incidentally, the fourth job - "Flower" - favorably with earlier student Impressionist works are already visible hand of the master, in addition to mercantile interests Malevich was important to establish itself as a strong Impressionist art at an early stage, ie - Know how and it took place in his youth.
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Soon show remarkable creativity of the artist from Nizhny Tagil.
Konstantinov Alexei Semenovich. He died in 1998.
Konstantinov not Malevich, but the quality of work is much higher than shown "Madonna"
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qwerty, we are with you in my one and the same talking)))) I, frankly, impressionistic work of Malevich like Pobol than deserving of the Impressionists. I think he created them, and before 1913 and after. TO because I was searching for himself, and then, to
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Сообщение от qwerty
to establish itself as a strong Impressionist art at an early stage
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До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.
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Leonid Katsis
Ideology of the Vitebsk UNOVIS, the Jerusalem Temple and the Talmud
(The squares of Malevich and El Lisitsky).
I.
Early in his famous article about Mogilev synagogue, El Lissitzky wrote: "Groups of a pupil heder, indeed a whole generation, including here even the Talmud, completely acidified over the years only to read and analyze texts [1].
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Let us assume that these words could apply to most of El Lissitzky. Then mix in one person graduate heder, Talmudist and artist (in this case we are referring to the collective image of the Jewish painter of the beginning and the first third of the twentieth century) allows us to consider what happened to Suprematism in Vitebsk. And it happened when the most radical and far too non-Jewish tendency in art - Suprematism - were brought to its founder, Kazimir Malevich in the city Yudel Peng, Marc Chagall and the future UNOVIS.
Among other things, Kazimir Malevich in Vitebsk, met with artists, with experience of folklore expeditions to the villages of the Western Region, the program of S. An-sky. Impressions from the expeditions of Jewish artists in the towns of the West in the years 1914-1916. edges are inevitably associated with the impressions of the tragedies of the First World War. With these same years were linked and reflection KS Malevich's quite a different subject - whether its square, destined to become a symbol of the end of the old art (and world) and be the beginning of a new three-dimensional. As you know, from Vitebsk answer was negative, and contacted researchers Malevich to the fact that he did not want to find yourself in a circle of admirers of the "fourth dimension" P. Assumption. And in Vitebsk, Malevich, judging by the words of El Lisitsky, instructed the latter to do surround Suprematism, from which it happened PROUNI.
At first glance it seems that everything is logical: the grand master of Suprematism gave appropriate instructions to his younger colleague, which he successfully completed. There are, however, circumstances that prevent such a simple solution. And it is nothing else but the famous "leaflet number 1" UNOVIS with image on it "Black Square".
Note the signature under the "logo" Pages UNOVIS number 1, released in Vitebsk on Nov. 20, 1920: "The overthrow of the old world of art but will be drawn on your hands. Wear black square as a sign of the global economy. Draws in your shop red square as a sign of the world Revolution Art.
Ask yourself the question: "What could this mean the expression" black square on a black background, a black square on a white background and so on for young artists Vitebsk Jewish, lived his entire life in the Jewish province and how they were to perceive the subject (and object of it?), if they themselves wrote: "Wear a black square ..."?
No less than 5 times a week they had seen, if not used ourselves, it is an object that represents the "black cube on a black square background." This Tefillin - a ritual object worn during Jewish prayer. Clearly, a black cube on a black background and give us the desired "black square on a black background." We now give the wording of the Torah on this issue and compare them with the above-quoted passage from Newssheet UNOVIS number 1. Scripture says: "And thou shalt bind them (the words of God) as a sign upon thine hand, and let them be a bandage over your eyes" (Devarim-Deuteronomy 6,8), or "lay up these my words in your heart and in your soul, and bind them for a sign upon your hand, and let them be a bandage over your eyes "(Shemot-Exodus 13,9).
It is obvious that these words are similar to those that we saw on the sheet UNOVIS number 1.
These ideas have been expressed by us in the early 1990's and published back in 1998 not to say that they have found broad support in professional circles in the Russian avant-garde. However, even those with sarcasm and annoyance to treat our reports on this subject, were forced, at least, to adjust their positions in the most recent vremya2
Since the issuance of our notes emerged a number of works in which to discuss our ideas, published a number of important materials (the most important among them: correspondence KSMalevicha with Gershenzon), simply created new opportunities for the development of old ideas. This allows us today to revisit the topic of two Suprematism - the Russian and Jewish.
Now look at the famous photograph of staff UNOVIS shot from near Vitebsk in 1920. In the photo next to Malevich and other leaders UNOVIS is Lev Yudin. On his right arm near the wrist, we see on a white background sweatshirts black square. Please pay attention - not on hand. The same thing just as a black square on a white square background and find a man sitting Elijah Chashniky. (Staff UNOVIS. Vitebsk. Around 1920. They stand from left to right: Ivan Chervinko, Malevich, Ephraim Rayak, Nina Kogan, Nicholas Suetin, Leo Yudin and Eugene Magaril. Sitting from left to right: unknown (or MS Wexler?), Vera Ermolaeva, Ilya Chashniki and Lazarus Khidekel. Fig. № 23.3
As you know, tefillin worn on the left hand (on the skin, not on a shirt or jacket!) Above the elbow. What made Leo Yudin Ilya Chashniky to do so "peculiar" that play with their behavior?
First of all, in our opinion, it is well thought and artistic action. After a black square on a dark background just will not be visible, especially in black and white photography. Therefore needed a white lining. Accordingly, a white shirt Lev Yudin, we see just a flat black box on the right hand. At the same right hand of Elijah Chashkin we see almost malevichesky "Black Square".
Recall now that, as in the article about Mogilev synagogue characterized the pioneers of Jewish artists El Lissitzky. He is, as we mentioned above, described his colleagues as the boys from heder (Jewish religious elementary school) and even the Talmud, that is, those who not only graduated from secondary school, Talmud Torah, but also high school yeshiva. In this case, it remains to compare the act of Vitebsk Jewish followers of Malevich with what they were taught in the respective schools.
If we are right, and the concept of the artistic avant-garde behavior Vitebsk associated with Jewish law and the Talmud, we can only directly refer to this source.
Here Mishnah eighth chapter of the Fourth Treatise Megillah, highway, just, we are interested in the question: Who do your TFILLIN ROUND - creating for themselves at risk, and the commandment does not perform. NADEL ON TFILLIN forehead or on a palm - acted like a heretic. Overlay them with gold or give TFILLIN on his sleeve - acted as a freethinker. [4]
Even more close to the case we are no comments for this post tractate Megillah: "covered them - that is, tefillin - outside of GOLD or give the hand tefillin is not on the bare arm and the sleeve outerwear that everyone could see it (italics nash.-L. K.), - acted as a freethinker, not following the instructions of the wise, and own understanding (Rashi).
(...) Said the same "and let it be [this] YOU sign on your hand means that the hand-tefillin should be familiar only to those who wear them, not for outsiders, and this implies that it may be hidden under sleeve and there should be nothing that separates the tefillin from the skin. "[5].
So, if we are right, then the followers of Vitebsk UNOVIS quite subtle and well built as the decoration of his Newssheet number 1, and group photos in which we see their "craft" costumes.
Immediately, we note that if the transformed symbol "hand tefillin" we saw on the sleeves Yudin Chashniky, then with the head tefillin, we meet just at the El Lissitzky. But it happens a little later.
In the meantime, analyze it looks like an act UNOVISovtsev with the Jewish point of view. First of all, their "black" and "red" squares known publicly display and on the leaf, and on their clothes, they are invited to paint in the workshops. Then, we have not yet met the documents attesting to the fact that the squares were drawn (plotted) on the palms Here we can assume that the picture on the palm of the artist completely replaced with a brush in his hand. Further, the call to "wear a black square" is contrary to traditional Jewish practice of putting on tefillin only for prayer, which follows from the very title of the subject (cf. Tefila-Prayer). Finally, we can not rule out that the title of heretics or freethinkers fine with innovators in the world of art.
As for the colors of squares specified in LITSKE UNOVIS number 1: the red and black, do not forget that the first Black Square by Malevich was posted to them at the exhibition "0.10" in the corner like an icon. The Jews of icons, of course, no. Hence future "Two Square" El Lisitsky of his famous "Tale" are the Jewish "transcription" squares KS Malevich, the more so that "Red Square" offers just to draw in the workshops unovisovtsev.
We now have the inevitable question arises: let the Jews vitebchane and El Lissitzky, together with their imagined "Black Square" exactly as we see it today. Their Jewish background for this was quite enough. But being here Pole Kazimir Malevich, who, as far as we know, the Jewish-Jewish themes has spoken?
II.
The answer to this question is, in our opinion, where he was to be found - in correspondence, KS Malevich and MO Gershenson. Unfortunately, this important document has become known to us only very recently after the publication of letters KS Malevich from seized by Customs for transport abroad archive NI Khardzhiev. By letters that we turn later, and now we note that the NI Khardzhiev had the opportunity to reflect this correspondence for 35 years, but did not take advantage of this opportunity.
The second point in this whole story is linked with the personality of the person with whom correspondence KS Malevich. Memoirs and Essays of Andrey Bely preserved for us information about how attitude MO Gershenzon, author of "Trial of the Jewish people", to Suprematism and Malevich. This is perhaps not less interesting than the possible relationship KS Malevich to the Jewish symbolism in the Jewish Vitebsk.
Andrew White says: "... once MO, putting me in front of two squares supremacist Malevich (black and red) zaklokotal, spat, and - most serious voice blurted lecture, severe:
- "History of Painting and all these Vrubel to such squares - zero!"
He stood in front of the squares, as if praying for them, and I was: Well, yes - two squares, and he explained to me then: look at these squares (black and red), he experiences the fall of the old world:
"You pomotrite-ka: collapsing all.
This was in 1916, shortly before the revolution, before the squares MO experienced its future "Bolshevism", from the first days of the revolution - where Malevich, Suprematists? "[6].
"Gershenson to White at the same time - the elder (wisdom, knowledge) and youth (temperament, creativity, emotion):" ... he reminded of the sacred beetle of Egypt, so he was an old old saying, yet his warmth and everlasting effervescence was he, as a young man, boldly prepared to look at all the new ways - where later generation began to be afraid of innovation: he was admired by some of square of Malevich's works in Suprematist seeing deep thought, he also saw the importance of the biblical text as it would see the great contemporary of Moses, it is absolutely beautiful it is God's chosen prophetic Jew who sacrificed their precious force's creation of Russian culture and Russian explaining the "spirit" of the Russian past, "wrote Andrew White in Berlin edition" of his memoirs. [7]
Characteristically, Andrew White to step up and build up more relationships MO Gershenson to the squares of Malevich, as if giving us the opportunity to deeper and deeper into the mystery of such an enthusiastic attitude of the Jewish philosopher (whose Jewishness White constantly pedaling in their texts) to a primitive-looking, or at best - minimalist, works by Malevich. In this case, a man far removed from Judaism and Judaism might well not to draw attention to yet another description of relationships MO Gershenzon with squares, which is referred to White in his essay "MO Gershenzon": "admirer of Pushkin's complete clarity of this picture hanging in front of him in his office" (Emphasis added. - LK) [8].
What is this picture? What should or could have seen this MO Gershenzon?
In our opinion, the answer to this question is contained in the ED Tolstoy, which linked the "Black Square" by Malevich with a long tradition, when Jewish homes remained part is not painted the walls in the form of a square or rectangle in the memory of the destroyed Jerusalem Temple. Description of this custom, which, perhaps, it is important to Malevich, is quite anti-Semitic context of the novel V. Krestovsky "St. Petersburg secrets.
Here is the passage of that article. In the office of a Jewish scholar: "... most conspicuous at the exit from the cabinet, is a solid black rectangle, all of the wall above the door, and there are two white letters employees initials of the words" Zaher Lahurban "which means' to commemorate the fall of the temple and the kingdom '. "[9]
Ibid E. Tolstoy describes this act of the famous memoirs P. Vengerova: "I remember once, on the Friday before Shabes-Hazon (Saturday eve Quiet beov) for breakfast out is a serious and excited by his mother. In one hand she held a wooden vessel with a a black mass, but in the other - the brush. Why is this? - amazement. But my mother stood up on the sofa, drew on the beautiful red wallpaper quadrangular black spot. She said that it zeher lehurben - a reminder that we Jews are in goluse (exile). "
If so, and doubt in the above example, there is no reason, then acquire some special significance from Correspondence, KS Malevich and MO Gershenson.
Unfortunately, we know only the voice of one side of the conversation. But he combined with the way MO Gershenzon, created by Andrei Bely, reveals a deep undercurrent of dialogue as an artist and philosopher, and the reasons for their mutual interest in each other. In turn, the disclosure of this implication would seem to us to see and what brings our assumption about the perception of Vitebsk artist-Jews "Black Square" as a projection onto the plane of the black cube on a flat black box "- Tefillin.
In a letter dated December 21, 1919 read: "I visited the Church Catholic, Orthodox, Jewish. Three different sensations, three forms of surface texture and three of touch.
Spiritual movement in the churches recalls: the first velvet, against the sun's rays, full of life, combined with the field and the people, the second thick, red wood color, the sun which does not respect, well-fed. The third crystal, without color, without any church, illuminated by the sun, bright, small, but the sun is not alive. But a reflection that much. Anxiously glitters is cold and does not flourish, it covers the same world of gray, granite. Covered entirely by mountains, where you do not see no plants, no animals or people "[10].
Here, in letters of Malevich's first appearance characteristic of Judaism as a "synagogue without a temple. That is, in this letter was made a key for all of our theme word. In addition, we did not leave the impression that in describing the sensations of Malevich after a visit to the Vitebsk synagogues shines description of what was then Palestine.
We continue quoting the letter: "The Catholic Church - the departing spirit has built in a wedge, which stubbornly plowing the dome is, hiding in his own world all the living, providing a way for him through the wedge of his gun. He no longer stands on the earth is over her. Orthodox impression of finality, he had nowhere to go, he was under the mercy of heaven, which holds the land in order not to upset her wind, sinking into the ground, lighting up the dark wooden torch. Judah is on the side, but where it is impossible to say the building it is not a building, rather , it is not at all, there is only a place of reflection "[11].
Let us here. For the text of Malevich seems to us extremely important. Note that in the first case, the author of "Suprematism" refers to a synagogue church, which, however, covers only a reflection of the dead light of a "temple", which is actually not. In the second case, the artist does not use the name of religious institutions, skipping the word "temple", naming a synagogue building, which can not be called the building ". Thus, Malevich looking and seems to find a certain image of Judaism.
The following is his speech Malevich strikingly correlated with the words El Lisitsky that the pioneers of Jewish art in the classroom acidified solely the interpretation of texts. Classic is the avant-garde art on the contrary sees Judaism in polukabalisticheskom read: "His world is filled with letters, how to absorb all plants and life in their hollows skolzeniya slides bloodless spiritual act of ringing, which do not need no sun, no plants, it is not out of the cavities of innumerable letters. (Note that the bells in the Jewish synagogues did not happen, because calls to them would have to be on Shabbat, which is prohibited by law .- LK).
If the argument about Kazimir Malevich synagogue can still be perceived fairly neutral, then the next - again about Catholicism, Orthodoxy and Judaism - it sounds somewhat ominously: "The Catholic - spicy, soft, velvety, with a small amount of blood, lit by the sun, filled with bread, herbs and animals. Orthodox - full of blood, spinning in earth, even to rise and soar, but the dome of the sky presses.
When I was at worship, I felt in a trip in this form, as described briefly.
The description of the synagogue deserves a detailed analysis just on the background of the terminology of the previous descriptions, the more so here, finally, the sound, the word "synagogue": "In the synagogue, I was flying by letters, deprived of flesh and blood, otherwise I would not be able to see that the sun and of the world.
Let us stop here, because the subtlety of reasoning Malevich strikes, even more striking his style and metaphor. Thus, Judaism, the synagogue is described by the artist, as a place where he lost "the body and blood." It is clear that it is communion with the body and blood of the Lord actually distinguishes Judaism from Christianity. In addition, the so-called "small amount of blood" that distinguishes Catholicism from Orthodoxy as something very close to the problem of dogmatic differences of the two denominations of Christianity, as well as the following from this difference in the structure of the Eucharist. It is enough that in the Catholic communion of the body and blood of the Lord "are" in the so-called wafer and wine, a symbol of the Holy Spirit, sip a priest. In Orthodoxy the same body and blood of all partaking of communion. In this case, Judaism would have been just a religion without the Eucharist, religion, where the Pole and, probably, a Catholic really Malevich "deprived of the body and blood", that is the Eucharist. The problem, however, rests on the wording of Malevich's' I flown by letters, deprived of the body and blood. " Recall that it is charged with bleeding of Christian children and is one of the varieties of "blood libel". So when a Christian, who visited the synagogue, said of himself something similar, such ambiguity is hardly hid from the MO Gershenson, who recently, only a year in 1911-1913 painfully shameful Bayliss and tear their own, rather peculiar, with VV Rozanov. [12]
In addition, if KS Malevich was really in a synagogue, a few strange sound of his words to the effect that: "I am very thoughtful, so missed the stick from his hand and his cap, which for a long time did not raise, even though she was badly knocked to the floor. Himself was very impressed when I saw a stick on the floor, I thought I had not gone crazy. " [13]
Hard to say what he was doing, KS Malevich in the synagogue during the service without a hat. Indeed, this religious institutions made just to cover their head.
Further arguments KS Malevich's concern alone. Bulgakov. Specifically, we will consider them (though it should be done already in a different context and in other work), although we note that they have signs and images, Andrei Bely texts of his first revolutionary years, and thought, going back to "a short story about Antichrist "Solov'eva, etc. Note that the idea of a "Suprematist ones, as can be called a dream, KS Malevich to combine Catholicism, Orthodoxy and Judaism, it is clearly linked to the ideas of the late VS Solovyov.
In turn, the arguments of the artist listed here may be considered in the context of the scriptures of Judaism VV Rozanov. This should not surprise, because as we had to celebrate on another occasion, the texts KS Malevich on futurism in painting obviously play up the idea of the author of "solitary". [14]
Commentators letters KS Malevich MO Gershenzon, of course, indicate that attention to the artist about. Bulgakov drew most likely his constant correspondent and reviewer MO Gershenzon, and it seems to be true. However, the attention of commentators letters slipped one important detail associated with the appearance of. Sergius Bulgakov, which may be important in our context. We refer to the publication of MA Kolerov article Vegetus.Nedelya of Bulgakov (Letter from Simferopol) from the newspaper "Great Russia" (Rostov-na-Donu) № 339 of 6 (19) November 1919, where we read not only the speeches of St. Sergius A. Rozanov or B. S. Solovyov. But: "... in the Jewish milieu was a rumor that Bulgakov has arrived to arrange pogrom ....
This place gives the publisher a note: "Obviously, one of these rumors traced the history, reflected in later correspondence, close friends Bulgakov. January 13, 1923 MO Gershenzon, talking about their worries about the fate of Bulgakov to LB Kamenev , LI Shestov wrote: "I knew that he [Bulgakov] all the time, kept aloof from politics, but K. did not listen to my protestations, eventually, he said: Do not you know that B. Appeal to the Jewish pogroms, which had been pasted up in all cities of the Crimea? I replied, of course, that this is an outrageous lie that BA is not able to, and he told me: Rodichev himself confirmed this fact in a foreign newspaper ... "[15].
We are aware that the issue KS Malevich and about. Sergius Bulgakov deserves a special and thorough consideration, but do not rule out that the artist knew something about the (possibly legendary) the reputation of a thinker. It is possible that this explains the sudden fervor discussion about identity. Bulgakov is in the letters KS Malevich to MO Gershenzon.
III.
But let us return to our squares.
In a letter dated March 18, 1920 Malevich goes to interest us form the bulk of the square - Cuba: "On Suprematism too much of something cleared up, especially when the black square was raised in the architecture of such forms, it is difficult to express the kind of architecture that has such an image, that you can not find his form. This is a form of a new living organism, and if suddenly to come across such a city, it was impossible to know that this square has become a living, giving a new world of perfection, and I look at him differently than before, this no painting, is something else. It occurred to me that if mankind had painted the image of the Deity in his own image, then maybe a black square is the image of God as the essence of his perfection in a new way early today "[16].
In this letter, KS Malevich affect the most important moment of his worldview. In using the phrase "Today's the beginning," the artist calls almost the moment the apocalyptic process, which was connected with the ideology of "New Way", released in 1902-1903. The journal actively Merezhkovskys and their circle, VV Rozanov, etc. discussed the problem of so-called New Christianity. Togo Christianity, which comes after the Second Coming. Sam Merezhkovsky openly proclaimed the Third Testament, that is testament of the Holy Spirit. However, it is called revolution of spirit and was the basis of thinking that the Futurists that Malevich that his friends later OBERIUtov. [17]
So that the next letter dated April 11, 1920 Malevich writes directly to his correspondent: "For many years I was busy with traffic in their colors, setting aside the religion of the spirit, and it took twenty-five years, and now I have returned or entered into the world of religious "[18]
No wonder that Malevich is trying to build his synthetic religion, of course, as the post-Christian religion: "No awards, no promises, nor punishments - not what happened to Christ, that when he fed with five loaves five thousand people, then they chose him as their king, and that if he kept them hungry, and in the future, promised nothing, whether elected or not. The people want to withdraw from all religions to the religion of pure action, in which there will be no rewards and promises. " [19]
From the Bible or the Torah we know who, how and where "people are brought up. It was Moses led out the people from Egyptian slavery. Recall that the song "Had Gadya", illustrated by Al Lisitsky, falls into this holiday. Here is an interesting parallel between the subjects thought the two contemporaries.
And what is Moses saw himself KS Malevich, supported by literally following words of his letter: "I do not know how you react to my decisions, but I see in Suprematism, three squares and cross the start not only beautiful, but just in general, and the new religion, the New Church, also see ; share Suprematism in three steps - color, black and white, in a white see pure act of the World, the first color as something pointless, but it begins the withdrawal of Sunny and his World Religions, then shift to the conception of life as a black and white as the action. I mentioned that people need to withdraw, once again I am taking the role took not one already, but maybe its motion (the people) need to go from one tribe to another, and the people themselves must be clean, his most important task is out of himself, that is, the people that no longer walk, and always to act. "
In this passage, the mass of interest. Do not forget that the restoration of the Third Temple is an eschatological view of Judaism. In turn, this is the moment of arrival of the Messiah, who should restore zhertovoprinosheniya in the rebuilt Jerusalem Temple. Actually this is the meaning and invested in the last words of Haggadah for Passover: "Next year in rebuilt Jerusalem." Moreover, the expression "in the rebuilding of Jerusalem" meant exactly the restoration of the Jerusalem Temple.
Thus, historically, and the Second Coming of Christ represents the same time. The difference is in what will happen: either be restored Jewish sacrifices, or whether there will some heavenly Jerusalem. However, the details of this deal, we are not going to [20].
KS Malevich frankly wants to make his Suprematism to change the generation of the people that he's going to lead the tribe to tribe, and that this people has become clean and worthy of a new church, based on, among other things, along with the squares will cross. It is apparent that for the third Jewish Temple there is no need for this element. Malevich sees himself as a new Moses. Later, he develops his ideas in the whole doctrine of "Moiseizm. However, the first traces of this idea, we see just the letters Gershenzon.
Finally, the remarkable idea that people should no longer walk and must start to act forever. This idea of a certain bus stop, it seems, is to Malevich importance. After all, he made two of his disciples original inscription on the Vitebsk book "God does not throw off, and twice the difference in 5 years: 16 February 1927, shortly before departure for Europe, the artist gave Harms his latest book, published in his homeland, a philosophical treatise "God does not throw off. Art. church plant (Vitebsk, 1922). Regarding malevicheskoy inscriptions J.-F. Jakkar said: "This is a mysterious dedication -" Go and stop progress "- shows the relationship between teacher and student that brings together those people." Dedication denied mystery in the light of Malevich's relationship to progress, under which, in contrast to the fashionable then shpenglerianstvu, he understood and civilization, and culture. Back in 1922, immediately after the publication of the treatise, he gave it to one of the most talented of his followers, unovistsu Ilya Chashniki ( 1902-1929), with the inscription: "Go and stop culture. I. Chashniky. Culture as it is difficult to climb a camel through the eye of a needle, for she seeks the mind, intellect and sense proidti in what has neither reason nor sense nor the mind. Intelligent or smart not enter into a madman. K. Malevich. Vitebsk April 1922. "A similar inscription, addressed to five years Harms, testified that the leader-objectivists went to see him as a successor and associate in the case ostanavlivaniya progress" [21].
This approach, which includes only the differences from shpenglerianstva and excluded from consideration rather obvious evangelical images from the camel and charcoal abalone to the universes of demons into pigs, leaving the idea of stopping the progress is as mysterious as it was and to compare with the inscription inscriptions Harms Chashniky. Meanwhile, the notorious stop the progress described in the very letters Malevich, which we have quoted here. This stop is entirely religious in nature, associated with the ideology of the Third Testament. After this trinitarian type of apocalyptic thinking for Testament of the Holy Spirit has nothing to go. Because all the supporters of this heretical ideology already feel at the end point of development.
Not surprisingly, therefore, that not so long ago in 4 volume of collected works by Malevich, we saw a picture where there are these two artists and one of them - Malevich - the square on the left hand, symbolizing the 2-nd Testament, and his pupil al-Lisitsky - on Right-to symbolize a kind of covenant for the next malevicheskim [22].
His letter about the new temple, KS Malevich again finished invective addressed to. Bulgakov, who, in the opinion of the writer, "is in the brace religion of the spirit, of what he needs to go" [23].
Categorical conclusion of this phase of the spiritual path of Malevich's Black Square is moving from the red corner of the exhibition "O.10" on a flat wall, the Russian Museum and the doubling of its demonstrative character end of the era of Christianity, yes, it seems, and the next era. Suppose that in the form of a prediction. Beyond this work, we reserve amazing document - a letter to the widow of Andrei Bely MO Gershenson, written immediately after his death. It is amazing that this text is virtually "on top" of the poem OE M. "This night irreparable ..." to commemorate the poet's mother. This fact is interesting because in the verses of M. We find "black-yellow" sun, and the image of the temple, etc., that may be interesting to compare with the imagery, KS Malevich in discussing the problems of the Orthodox-Catholic-Jewish apocalyptic associations [24].
In conclusion, we present a very good argument architectural theorist and historian of the Vitebsk vanguard J. Doohan, who, continuing our discussion of the Tefillin as a black square, wrote: "Transformation" square "in the" volume "- namely, the" cube ", has as its prototype of the Jewish prayer tefillin, which indicates the location of the apocalypse and the beginning of a new era. Judah layer in this term is absolutely necessary final phase (our italics - LK) for Vitebsk Suprematism, and the role Lisitsky as a Jew (as opposed to a non-Jew Malevich) in many ways was the objectification of signs of the Judeo-Christian apocalypse. It appears, then the perception of the synagogue, the Jewish temple as a pure form of spirituality and the merit of which was allocated to us ... in a letter of Malevich to Gershenzon. Is not this perspective, Mogilev synagogue in the perception Lisitsky cytoplasmic space of the Jewish characters and images, in which he sought to discover the contours of a new post-apocalyptic Suprematist world? "[25].
Notes:
1. El Lissitzky. Memories of Mogilev synagogue. //Rimon|Milgrom № .3. Berlin. 1923. S. 9-13. Op. by: Tradition and Revolution. The Jewish Rennaissance in Russian Avant-Garde Art (1912-1918). Jerusalem, 1998. P. 233-234.
2. "Black Square" by Kazimir Malevich and the "tale about two square" El Lisitsky in the Jewish perspective. //Jewish civilization: Issues and research. Proceedings. "Sefer". Academic Series. Vol.3. M., 1998. S. 271-275 ..
3. Kazimir Malevich. 1878-1935. Catalog. Leningrad.-Moscow-Amsterdam. 1988.
4. Mishnah. Tractate Megillah. Comm. Rabi Pinchas Keram. Per. Hebrew: Yehuda Wexler. Haman. Jerusalem. 1994. From 93.
5. Ibid. 95. (Komm.)
6. Bely. Between the two revolutions. M. 1990. S.256.
7. Correspondence Andrew White and MO Gershenson. Vst.st., publication, and comments. AV Lavrov and John Malmstada. In memory of AI Memoriam.Istorichesky Collection Dobkin. St. Petersburg and Paris. 2000. P.236.
8. Bely. Between the two revolutions. M. 1990. S. 521 (komm. AV Lavrov. Op. On: Russia, 1925, № 5 (14), pp. 255-256)
9. Thick, to the semantics of the black rectangular shapes //History. Culture. Literature. To the 65 anniversary of SY Dudakova. Jerusalem. 2004. P.168.
10. KS Malevich - MO Gershenzon. Vitebsk to Moscow. December 21, 1919 Malevich KS Coll. cit. 5 v. V.3. "Suprematism." "The World is irrelevance, or eternal peace" with the application letter, KS Malevich to MO Gershenzon (1918-1924). M. 2000. 334.
11. Ibid.
12. Proskurin Gulf Stream. M. 1998; Correspondence VV Rozanov, and MO Gershenzon, 1908-1918. New world. 1991. № 3. Publication Proskurin.
13. KS Malevich - MO Gershenzon. Vitebsk to Moscow. December 21, 1919 Malevich KS Coll. cit. 5 v. V.3. "Suprematism." "The World is irrelevance, or eternal peace" with the application letter, KS Malevich to MO Gershenzon (1918-1924). M. 2000. 334.
14. L. Katsis Vladimir Mayakovsky. Poet in the intellectual context of the era. M. 2000. S.227-234. (Rozanov. Malevich. Mayakovsky. "). The same section and see in 2 nd Ed. our book in 2004
15. Kolerov M. SN Bulgakov in the Crimea in the autumn 1919: Vegetus. Week of Bulgakov. Studies in the history of Russian thought. Yearbook 1997. Petersburg. 1997. S. 236. Letter MO Gershenzon LI Shestov op. publishers of: MO Gershenzon. Letters to Leo Shestov (1920-1925). Publ. A. and B. D'Amelia Hello. Past. Historical almanac. No.6. M. 1992. P.277.
16. KS Malevich - MO Gershenzon. Vitebsk to Moscow. March 18, 1920 Malevich KS Coll. cit. 5 v. V.3. "Suprematism." "The World is irrelevance, or eternal peace" with the application letter, KS Malevich to MO Gershenzon (1918-1924). M. 2000. S. 339.
17. Katsis L. apocalyptic "Silver Age". Eschatology in the artistic consciousness, Prolegomena to Theology Oberiu. D. Kharms and Alexander Vvedensky in the context of the theology of the Holy Spirit, etc. See Katsis L. eschatology Russian and Russian literature. M. 2000. S. 12-34, 467-489.
18. KS Malevich - MO Gershenzon. Vitebsk to Moscow. April 11, 1920 Malevich KS Coll. cit. 5 v. V.3. "Suprematism." "The World is irrelevance, or eternal peace" with the application letter, KS Malevich to MO Gershenzon (1918-1924). M. 2000. 341.
19. Ibid.
20. Wed J. Pawlikowski, Jesus and the theology of Israel. M., 1999.
21. Shatskikh A. Kazimir Malevich and poetry. Kazimir Malevich. Poetry. M. 2000. 38-39
22. See Malevich K. Coll. cit. 5 v. V.4. M., 2003. S. 294. LM Lissitzky and KS Malevich. Summer 1920. Vitebsk.
23. KS Malevich - MO Gershenzon. Vitebsk to Moscow. April 11, 1920 Malevich KS Coll. cit. 5 v. V.3. "Suprematism." "The World is irrelevance, or eternal peace" with the application letter, KS Malevich to MO Gershenzon (1918-1924). M. 2000. S. 342.
24. More on this see our monograph Katsis L. Osip Mandelstam: Musk Judaism. M. 2002. S. 70-79 ( "This night irreparable ..." and the Jewish funeral MO Gershenzon.).
25. Dukhan I.El-Lissitzky, "Jewish style", avant-garde ... //Proceedings of the Eleventh Annual International Interdisciplinary Conference on Jewish Studies in the 2-hour academic series "Sefer". Vol. 16. M., 2004. P.2. S. 336-337.
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