The following article will look at non-objective art and how Kazimir Malevich and Piet Mondrian saw the relationship between this type of art and spirituality. Specifically, while it is evident that both men saw the important ways in which intellectual and cognitive transcendence could be achieved through non-objective art, Malevich seems the more explicit of the two men when it comes to connecting non-objective art with organized Western art. religion; for his part, Mondrian prefers a spiritualism that is more widespread or less easy to label, more in line with ancient oriental occultism. Non-objective art is art that contains no recognizable objects or figures. Non-objective art focuses on a “harmonious” arrangement or organization of grids, shapes and colors. Some of Mondrian's best works, such as Composition in Blue, Yellow and Black, are a good example of non-objective art at work, as are Malevich's Suprematism paintings. Malevich's description of the avant-garde zaum style speaks to his vision of the intimate connection between the spiritual and the non-objective. In particular, he wrote in a personal correspondence of 1913 that the Zaum stylists both in literature and in painting rejected conventional reason for the simple but persuasive fact that another type of reason had stirred within them which had its own law, construction and meaning. peculiar; Malevich chose to describe this new type of reason as “beyond reason” and argued that this “beyond reason” gave images the right to exist. Malevich wanted to produce a new kind of art that employed a logic that utilized the full range of the human psyche, including its capacity for vitality, novelty, and true creation. Ultimately, what Malevich was really looking for, c... middle of paper... It is not evident that Mondrian saw art in the same cosmic context as Malevich: while the latter would have felt comfortable grouped with those who believed that art could throw into sharp relief the “monism of the universe” and could articulate an “astral vision,” Mondrian spends his time talking about how art in general can be a channel for learning about the “most regions purposes” – without refer to the universe or any kind of organized (Western) religion. Given all this, it can be tentatively proposed that Mondrian saw non-objective art as a way to achieve the sort of transcendental, “imageless” vision that Eastern mysticism had long sought – an occult mysticism that, it seems, Mondrian did. have some experience. When we examine the work of both men, both saw how the spiritual could be expressed through non-objective art.