The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

절대를 향한 엘리엇의 희구는 1927년 그가 영국국교회교도로 개종하 기 훨씬 전부터 존재해 왔다. 엘리엇이 철학자에서 시인-비평가로 ‘돌아 선 것,’ 시의 몰개성 이론을 주창한 것, 그리고 의식 대(對) 무의식을 뛰어넘는 ‘비(非)의식’ 논쟁을 펼친 것 등은 모두 이처럼 절대에 대한 갈망의 결과이다. 그리고 이 갈망은 본질적으로 낭만적이며, 이상주의적이 고, 궁극적으로는 시인 단테가 의미한 바와 같이 종교적이다. 재의 수요일 은 종교적 구원에 대해 긍정적인 암시로 인해 이전의 시와는 구분 된다. 그러나, 평자들이 주장한 바처럼 절대를 노래한 시가 아니라, 이 시의 1인칭대명사 ‘I’와 접속사가 충실하게 기록하듯이 회의주의와 종교 사이에서 여전히 고민하는 정신에 관한 시이다.