The following article will examine non-objective art and how Kazimir Malevich and Piet Mondrian viewed the relationship between this type of art and spirituality. More to the point, while it is clear 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 linking non-objective art to organized Western art. religion; for his part, Mondrian favors a spiritualism that is more diffuse 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, like 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 style of the zaum testifies to his vision of intimacy. link between the spiritual and the non-objective. Specifically, he writes in personal correspondence from 1913 that the Zaum stylists, both in literature and painting, rejected conventional reason for the simple but compelling fact that another type of reason had been aroused in them, which had its own law, its construction and its meaning; Malevitch chose to describe this new type of reason as “beyond reason” and he argued that this “beyond reason” gave images their right to exist. Malevich wanted to produce a new type of art that would employ logic that utilized the full range of the human psyche – including its capacity for vitality, novelty, and true creation. In the end, what Malevich was really looking for was... middle of paper... It is not clear that Mondrian saw art in the same cosmic context as Malevich: while the latter would have comfortable being grouped with those who believed that art could highlight the "monism of the universe" and articulate an "astral vision", Mondrian devotes his time to explaining how art in general can be a way to learn about the “finer regions” – without making a single reference to the universe or any type of (Western) organized religion. This being duly noted, one can tentatively propose that Mondrian saw non-objective art as a means of achieving the kind of "imageless" and transcendental vision that Eastern mysticism had long sought - an occult mysticism, it seems. , with which Mondrian did. have some experience. When we look at the work of both men, both saw how the spiritual could be expressed through non-objective art..