Its sides aren't parallel or equal in length, and the shape isn't quite centered on the canvas.它的边界并不平行，长度也不相等，而图画也并非在画布正中央。
Instead, Malevich placed the form slightly off-kilter, giving it the appearance of movement and the white surrounding it a living, vibrating quality.事实上，卡齐米尔·马列维奇给图画带来偏差，显得好似动态一般，而周围的白色是生机、活力的象征。
Technical analysis has revealed that Malevich already used the canvas for two other paintings.技术分析发现马列维奇已经把画布用于其他两幅图画。
Today, cracks in the aging paint— known as craquelure— reveal fragments of dusty yellows, vibrant reds, and faded emeralds,今天，陈旧颜料的缝隙， 又称裂纹，展现出零星的土黄、鲜红与暗绿，
hinting at all the stages Malevich went through before arriving at the painting's final form.指向马列维奇在最终成果前所经历的阶段。
His creative process is also evident in the vigorous brushstrokes, which are displayed proudly and move in a multitude of directions.他的创意思维也在大胆呈现，向四面八方延伸去的灵动笔画中所体现。
Fragments of hair and Malevich's fingerprints are also ingrained in the paint, adding both metaphorical and literal texture to the work.散落头发和马列维奇的指印也嵌在颜料中，为作品添加意寓和实际的质感。
In many ways, Malevich's whole history is embedded in the "Black Square." Born to Polish-speaking parents in Ukraine,在很多方面，马列维奇的人生故事也囊括在“黑色方块”之中。出生在乌克兰的波兰家庭中，
he lived there until he finally saved enough money to afford the trip to Moscow.他待在那里，直到攒够钱前去莫斯科。
Upon arrival in 1904, he plunged into all the avant-garde styles swirling around the city.在 1904 年到达时， 他转向城市中无处不在的“前卫派”。
He painted in the style of Impressionism and absorbed Post-Impressionism.他以印象派风格绘画，吸收后印象派。
He passed through a Futurist phase and then became influenced by the Cubists.他经历了一个“未来派”的时期， 之后被“立体派”所启发。
And by 1913, he was on the verge of a breakthrough.到了1913年，他站在突破的边缘。
Malevich realized that even the most cutting-edge artists were still just painting objects from everyday life.马列维奇意识到即便最为先进的艺术家也在描绘着平常生活中的物品、
But he was irresistibly drawn to what he called the "desert, where nothing is real except feeling." And so, feeling became the substance of his work.但他不可抗拒地被他所谓“荒漠，情绪之外即空白”所吸引。于是，情绪成为了他作品的主旨。
The result was the "Black Square" and a new style he named "Suprematism," where feeling alone was made supreme.最终结果便是“黑色方块”，和他命名的 “超脱主义”，孤独的感受被格外重视。
This would be achieved through what he called non-objectivity— a departure from the world of objects so extreme it went beyond abstraction.这将通过他所称的 “非主观性”实现——超乎抽象法，从实体世界的极限脱离。
Malevich believed the simplification and distortion that characterized abstract art was ultimately meaningless,马列维奇相信抽象艺术的简化与置换终归是无意义的，
since these styles were still focused on depicting real world objects.因为这些风格仍然着重于描绘实际的物体。
To him, only the completely non-representational would truly be new.对他而言，彻底的“无法代表性”才是真正革新的。
While this radical approach alarmed critics, 虽然这个激进的看法引来批评者，
Under severe pressure, he returned to figuration, painting peasants standing robotically in barren spaces.在巨大压力下，他重回人物塑造，画着在荒凉土地上僵硬直立着的农民。
But even these later paintings retained glimmers of his earlier ideas.但即便这些后期作品也保留着他先前画法的残影。
Gradually, the figures lost their arms and faces— disintegrating as mechanization gripped the countryside.逐渐地，这些人物失去了手臂与面孔，在机械化占领田野时慢慢化解、消散。
During this time, Malevich also painted a self-portrait that seemed to have abandoned Suprematism completely.在这个时期，马列维奇还创作了一幅自画像，似乎彻底与“超脱主义”诀别。
But his open hand formed a quadrilateral, and in the painting's corner was a tiny black square.但他的张开手掌形成一个直角边，而在画作的边界是个微小的黑色方块。
This was the symbol of a man who suffered through wars and revolutions,这个标志属于一位饱经战争与革命的人；
but never stopped pushing to create a new art— a refuge of pure feeling that lay beyond the burden of objects and the suffering of a divided world.他从未停止开发一种新的风格—— 超越事物之外残余的真切感触，也映射着分隔世界的苦难。
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