ABSTRACT

The subject of the analysis and interpretation contained in this text is El Lissitzky's work Self-Portrait as a Constructor from 1924. The text aims to indicate that El Lissitzky could have been inspired by two works by Marc Chagall: “Homage to Apollinaire” and “Dedicated to Christ” of 1912. The paper also attempts to interpret the Self-Portrait in a broader kabbalistic perspective. As it turns out, apart from his fascination with Kazimir Malevich's profile and Suprematism, Lissitzky was also well acquainted with the sphere of Jewish mysticism. In light of this, the work discussed in the article (apart from another work by the artist: “The Red Wedge of Beating the Whites” from 1919), one can clearly point to many themes of the Jewish Kabbalah, including such concepts as Ein Sof (the Endless/Infinite), Ayin (The Void), Iyun (Annihilation), Tzimtzum (Shrinkage/Disappearance), Shvirat kelim (Breaking of the vessels), piercing of the “Eye of Evil” and the general idea of Tikkun Olam (Repairing of the World).

摘要

本文分析和解释的主题是 El Lissitzky 1924 年的作品 Self-Portrait as a Constructor。本文旨在表明 El Lissitzky 可能受到马克·夏加尔 (Marc Chagall) 的两部作品的启发：“向阿波利奈尔致敬”和“献给基督”，1912 年。该论文还试图以更广泛的卡巴拉视角来解释自画像。事实证明，除了他对卡齐米尔·马列维奇的形象和至上主义的迷恋外，利西茨基还非常熟悉犹太神秘主义的领域。有鉴于此，文章中讨论的作品（除了艺术家的另一幅作品：1919 年的《击败白人的红楔》），可以清楚地指出犹太卡巴拉的许多主题，包括 Ein 等概念Sof（无尽/无限），Ayin（虚空），Iyun（湮灭），