Malevich was a founder of Suprematism and an active member of the avant-garde Russian and coasted El Lisitzky, Chagall, Matiushin and Rodchenko.
Malevich believed that the pure aesthetic of a square represented spiritual perfection in space; Mondrian claimed that geometric shapes freed Man from subjectivity and drew him toward a higher universal consciousness. The early work of Constructivism laid the basis for the Bauhaus School of Architecture in the 1920s, eventually establishing Mondrian's square as the dominant shape in contemporary architecture and Minimalist art. While these serious, formal artists placed little interest in ornament, their work does refer to pattern in an archetypal way. Mondrian's squares cannot help but remind us of the simplest pattern, the grid.
68 Chipp, Herschel and Brenda Richardson. Friedensreich Hundertwasser. CA: University Art Museum. 1968.2010. (http://hs.riverdale.k12.or.us/~dthompso/art/100h2o/).
The Suprematist artists Malevich and El Lisitzky set out to transform the visual universe by setting geometric forms in motion through bondless space. Although can be compare with the symbolic religious signs of three major religions, Christian, Islamic and Buddhist are presented on these three painting can close proximity to each other. (Fig. 6) The cross a universal as well as Christian sign appears with four points, two on each side. It can be traced to a pre-Christian sign found on Greek vases around 700 B.C. So, it is both pagan and Christian. The four points are associated with drops of water. Crescents like crosses are universal signs relating to the different phases of the moon, it's waxing and waning. It is now the primary symbol of Islam.
Malevich was highly influenced by Russian philosopher and mystic-mathematician Georges Gurdjieff. In concerning on Gurdjieff‘s philosophy, there are three recognized ways of self-development generally known in esoteric circles. These are the Way of the Fakir, dealing exclusively with the physical body, the Way of the Monk, dealing with the emotions, and the Way of the Yogi, dealing with the mind. What is common about the three ways is that they demand complete seclusion from the world.69 According to Gurdjieff, there is a fourth way which does not demand its followers to abandon the world. The work of self-development takes place right in the midst of ordinary life. Gurdjieff called his system a school of the
‗Fourth Way‘ where a person learns to work in harmony with his physical body, emotions and mind. Malevich‘s first dated painting Black Square got the bulk of critics regarded Suprematist painting and became a focal point for hatred directed at the new art. The critics were unsparing in their irony about this picture. They described it as a ‗dead square‘, ‗a void‘, and ‗the embodiment of emptiness.70 In the other hand, squares in Mandala uses in mythological tales of cosmogony as symbols of the created universe opposed to the uncreated chaos and emptiness.
Red, Yellow and Black squares, rectangles, circle and rhombuses are set out on a white background along horizontal, vertical and diagonal line, thus dividing space in definite directions and imparting to it an inner rhythmic mobility in the paintings by Malevich and El Lisitzky. (Fig.1, 5, 6) In some compositions, two or three dynamic axes are combined and the artists, in order to create the effect of multi-directional layered spatial movement, uses methods of spatial representation such as foreshortening: geometrical shapes are optically transformed, made markedly flat and elongated. Circles become elliptical, cubes and rectangles turn into slanted rhombuses, parallelograms or triangles, or even simply become straight lines.71
69 Bruno de Panafieu, Jacob Needleman, George Baker and Mary Stein. Gurdjieff. London: Continuum International Publishing Group, 1997. 218.
70 Larissa A. Zhadova. Malevich, Supermatism and Revaluation in Russian Art 1910-1930. 43.
71 Larissa A. Zhadova. Malevich, Supermatism and Revaluation in Russian Art 1910-1930. 47.
In the other hand, in Mandala black is the color of black earth, of the potentiality of germination of seeds in the spring to come. It is presented here in a positive meaning. Halo in is usually yellow or orange. Juxtapose with red or yellow, displays the sacred marriage of Heaven and Earth and red, a fundamental primary color is emanations of spiritual power. As a halo it has also been used in Christian symbolism.
Triangles as widespread and common symbolic signs have numerous meanings. In this pictorial context they are associated with the number three and this number can stand in the Christian religious tradition for the Trinity, in the Buddhist religion for the triad 'right thinking, right speaking and right doing‘ from the Noble Eightfold Path. In the Muslim Shiite religious tradition the triad the profession of faith follows the formula: there is no deity but God; Mohammad is the messenger of God; Ali is the friend of God.‘ The religious triad of Christianity, Islam and Buddhism may be also indicated by the triangle symbolism of the number three.
It would be useless to question an artist about the symbolism outlined above. Did they really assign consciously the geometrical figures to have symbolism in general and the specific one in particular? We must agree with Malevich's words:
It cannot be stressed too often that absolute, true values arise only from artistic subconscious or super conscious creation.72
As can be seen from these paintings (Fig. 1, 5, 6) the resistance to the accumulation of things, Suprematism stands for the non-representational art. In the non-representational art, the focus of the artistic creation shifts from outward to inward, from the world of things to the inner world of feelings and thoughts. This inner world of an artist should resonate to the viewer on the assumption that human beings share the same feelings and thoughts. The degree of resonance will vary among individuals as in our present society introspection is neglected and feelings are not paid much attention.
Since the non-representational art originates in the unconscious, the question of influence becomes irrelevant. Either all artists possess the same unconsciousness in which case an influence can't be perceived or they have different unconsciousness. In both cases a particular influence cannot be detected. What remains is the community
72 Larissa A. Zhadova. Malevich, Supermatism and Revaluation in Russian Art 1910-1930. 3.
of spirit. In other words, we can define it as search towards the ultimate Truth. The Ultimate truth that the spirit and the matter, the heaven and the earth or the night and day are only one and the Mandala in modern abstract paintings are the expressions of this underlying reality.
By thoroughly making an exhaustive study on Mandalas, it is crystal clear that the influence of this divine art form is well flourished from ancient times through various disciplines and movements and get into the more pure form of abstract paintings in Suprematism. This in turn has felicitated by many philosophers and artists in their works as discussed above and flown from east to west to contemporary paintings and finally reached at a more matured level in the abstract paintings of twentieth century.
Ⅴ.Conclusion
The Mandala is a circular symbol that usually contains a variety of geometrical forms, simple and complicated patterns, and recognizable figures and objects within its circumference. Such symbols are shared by many different religions and belief systems and arise as patterns within myriad facets of human life, culture, nature, and the cosmos. The significance of fractal imagery, geometrical patterns, and the symbol of the circle to human beings should not be underestimated and it is no coincidence that these forms appear in many works of modern art and the avant-garde, especially abstract works.
Twentieth century‘s artistic representation of the kinds of imagery found in hallucinations, fractal geometry, or transcendental mind states can be interpreted as unconscious manifestations of knowledge that is stored deep within the collective unconscious and the psychological and molecular structure of human beings. When this knowledge is unconsciously tapped and represented through cultural art, artifacts, and rituals, it would seem to be a function of our intuitive faculties rather than a deliberate intention that we arrive at by means of the intellect alone. Starting from the multifaceted versatility of Mandala as an art form, it had progressed through various dynamic fields and touches by many personalities and movements and reached in a wider spectrum of modern paintings. By explaining its evolutionary steps, basic foundations, color formats and its interaction with various ‗isms, this thesis arrives into a unique form and significantly contributes to the field of study through its multidimensionality. The Mandala influence on twentieth century abstract painting is of a unique and a very special one which gives enormous new viewpoints and inspiration to twenty first century abstract paintings.
Mandala, however, have been grossly understated and underestimated by the Western art historians and critiques as the common source of inspiration and influence for the 20th Century artists of West as well as East. The Western historians, although were able to identify the spiritual metamorphosis of individual artists such as Kandinsky, Paul Klee, Jackson Pollack, Malevich, Hsiao Chin, S. H. Raza, etc.
through the body of their works, they so far have been unable to connect the dots or pin point the common source as Mandala.
It would be quite interesting to observe the works of the disciples of these artists and further proliferation of Mandala Symbolism in twenty first century as well the recent times. A further and detailed study of the 20th Century modern artists in terms of their psychological metamorphosis and its reflection on their works in terms of Eastern philosophies and Mandala; and a chronological categorization of their works will bring forth a more scientific and authentic account of the rise of Mandala
Symbolism and its global proliferation in the modern times. I am convinced that Mandala Symbolism easily qualifies as a separate school of thought and expression amidst all the other ‗isms‘.
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Fig.3 Wassily Kandinsky. Farbstudie Quadrate. 1937. Oil on canvas, Washington, D.C.
Fig.4 Paul Klee. Printed Sheet with Picture (Bilderbogen). 1937. Oil on canvas, Washington, D.C.
Fig.5 El Lissitkzy, Proun, ca. 1922-23. Oil on Canvas, Collection Van Abbemuseum.
Fig.6 Kazimir Malevich. Plane in Rotation, called Black Circle. 1915. Oil on canvas, Private Collection, Courtesy Galerie Gmurzynska Zug.
Fig.7 S. H Raza. Kundalini (Coiled Female Snake).2001. Acrylic on Canvas.
Fig.7A Carl Andre. Zinc Ribbon, One continuous strip. 1969.
Fig.8A Hevajra Mandala. Central Tibet, 14th century. Collection of Rubin Museum of Art
Fig.8B Khanna. Yantra.
Fig.9 S. H. Raza. Tam Shunya (Everything is Zero). Acrylic on Canvas.
Fig.10 Hsiao Chin. Everything is Zero, 1978.
Fig.11 Hsiao Chin,太陽之三,1964,Ink on Canvas, collection of the artist.
Fig.12 Paul Klee. Gradation, Red-Green. 1921. Water color on paper. Pierpont Morgan Library.
Fig.13A Walter De Maria. Triangle, Circle, Square. 1972. Brushed stainless steel.
The Menil Collection, Houston.
Fig.13B Sengai Gibon. The Circle, Triangle, and Square. 19th century. Ink on paper.
Idemitsu Museum of Arts, Tokyo.
Fig.14 Chun Sung Woo. Mandala, The Joy of Ancients.1961. Oil on Canvas.
Fig.15 Friedrich Hundertwasser. A Raindrop that Falls into a City. 1955. Water color. Herausgeber Art,Architecture and Engineering Library.
Fig.16A Jordan Belson. Samadhi. 1967, color film with sound, 6 minutes.
Fig.16B Ages Martin. Cow. 1969. Oil on Canvas.
Fig.17A East Gate of Sanchi Stupa. India.
Fig.17B Marcel Duchamp. Bicycle Wheel.1964. The Vera and Arturo Schwarz Collection of Dada and Surrealist Art.
Fig.18A Wassily Kandinsky. In the Circle. 1911-13.
Fig.18B DT Suzuki 1870-1960. Both Vanished. Manual of Zen Buddhism.
Fig.18C Torei Enji. Enso. 1721-92. Ink on Paper. London: Shambhala.
Fig.19A S. H. Raza. Polarity. Acrylic on Paper Board. 2001. Acrylic on canvas.
Fig.19B Robert Irwin. Untitled. 1969. Acrylic lacquer on formed acrylic plastic.
New York.
Figures
Fig.3 Wassily Kandinsky. Farbstudie Quadrate. 1913. Oil on Canvas.
Fig.4 Paul Klee. Printed Sheet with Picture (Bilderbogen). 1937.
Oil on canvas, Washington, D.C.
Fig.2 Paul Klee. Actor's Mask. 1924. Oil on canvas, Museum of Modern Art, New York.D.C.
Fig.1 Kasimir Malevich.
Painterly Realism. 1915. Oil
on canvas, The Museum of Modern Art, New York City D.C.
Fig.5 El Lissitkzy, Proun, ca. 1922-23. Oil on Canvas, Collection Van Abbemuseum.D.C.
Fig.6 Kazimir Malevich. Plane in Rotation, called Black Circle.1915. Oil on canvas, Private Collection, Courtesy Galerie Gmurzynska Zug.
Fig.7 S. H Raza. Kundalini (Coiled Female Snake). 2001.
Acrylic on Canvas.
Fig.7A Carl Andre. Zinc Ribbon, One continuous strip. 1969.
Fig.8A Hevajra Mandala, Central Tibet, 14th century. Collection of Rubin Museum of Art
Fig.8B Khanna. Yantra.
Fig.9 S. H. Raza. Tam Shunya (Everything is Zero). Acrylic on Canvas.
Fig.10 Hsiao Chin. Everything is Zero, 1978.
Fig.11 Hsiao Chin, 太陽之三 1964, Ink on Canvas, collection of the artist.
Fig.12 Paul Klee. Gradation, Red-Green. 1921. Water color on paper. Pierpont Morgan Library.
Fig.13A Walter De Maria. Triangle, Circle, Square. 1972.
Brushed stainless steel. The Menil Collection, Houston.
Fig.13B Sengai Gibon. The Circle, Triangle, and Square. 19th century. Ink on paper. Idemitsu Museum of Arts, Tokyo.
Fig.14 Chun Sung Woo. Mandala, The Joy of Ancients.1961. Oil on Canvas.
Fig.15 Friedrich Hundertwasser. A Raindrop that Falls into a City. 1955.
Water color. Herausgeber Art,Architecture and Engineering Library.
Fig.16A Jordan Belson. Samadhi. 1967, color film with sound, 6 minutes.
Fig.16B Ages Martin. Cow.
1969. Oil on Canvas.
Fig.18A Wassily Kandinsky. In the Circle. 1911-13.
Fig.18B DT Suzuki 1870-1960.
Both Vanished. Manual of Zen Buddhism.
Fig.17A East Gate of Sanchi Stupa.
India.
Fig.17B Marcel Duchamp. Bicycle Wheel.1964. The Vera and Arturo Schwarz Collection of Dada and Surrealist Art.
Fig.19B Robert Irwin. Untitled.
1969. Acrylic lacquer on formed acrylic plastic. New York.
Fig.19A S. H. Raza. Polarity.
Acrylic on Paper Board. 2001.
Acrylic on canvas.
Fig.18C Torei Enji. Enso. 1721-92. Ink on Paper. London: Shambhala.
曼陀羅對二十世紀抽象繪畫之影響
Sagar Subhash Talekar
摘要
「抽象」不論就意義或實體而言皆與「沉思、冥想」同義。現代主義中抽象
最重要的源頭之一是古代東方藝術。波洛克（Jackson Pollock）、梵谷（Van Gogh）
等偉大的藝術家均受古代藝術影響。古代東方藝術有數個源頭，涵括最古老的東 方哲學：曼陀羅哲學。傳統的曼陀羅象徵（形式上具有圓、螺旋、正方形、長方 形、三角形等）及其哲學，源於印度盛傳於東亜，然而其中最關鍵的即是密續冥 想在印度的流傳。
曼陀羅在藝術上的影響，自古代到文藝復興時期是屬於較傳統而儀式性的，
而非抽象性的表現。自文藝復興時期起，曼陀羅對現代繪畫的影響開始展現並開 展至印象主義、後期印象主義、表現主義到野獸派。二十世紀的許多西方哲學家 如馮大拿（David Fontana）、特別是榮格（Carl Jung）等人，透過曼陀羅而有冥 想體驗及潛意識自我的再現。也因此，使得康丁斯基（Kandinsky）、保羅‧克 利（Paul Klee）等西方畫家對此好奇並獲致啟發。從現代抽象藝術的脈絡看來，
自立體派以來，透過塞尚（Paul Cézanne）、畢卡索（Picasso）、布拉克（George Braque）、康丁斯基、保羅‧克利等人的努力，曼陀羅的種子逐漸長成為枝葉繁 密的植物。藝術家從多元觀點來描繪此一主題，更豐富了曼陀羅的文本內涵。通 常立體派藝術家讓表現形式貫穿隨機交錯的視角，消解感官上的深度。不過，藝 術表現仍是具象再現。
自立體派以來，透過塞尚（Paul Cézanne）、畢卡索（Picasso）、布拉克（George Braque）、康丁斯基、保羅‧克利等人的努力，曼陀羅的種子逐漸長成為枝葉繁 密的植物。藝術家從多元觀點來描繪此一主題，更豐富了曼陀羅的文本內涵。通 常立體派藝術家讓表現形式貫穿隨機交錯的視角，消解感官上的深度。不過，藝 術表現仍是具象再現。