The Black Cube, the Kaaba, the tefillin, the six-pointed star, Saturn, the “holy of holies” of Mecca, the Christian temple, the jewish synagogue and every jewish home … is the symbol of the racial jewish soul. It has been prayed to by Muslims for 1,000 years. In the 20th century it became the main cult symbol of jewish Communism.
The judeo-Soviet Union was fertile breeding ground for jewish “artists” who planted the jewish cult in exchange for free undeserved positions. The jew Malevich made no secret of the fact that his Black Square (stolen from Robert Fludd, Paul Bilhod and Alphonse Allee) was simply a flat image of the Black Cube, aka the jewish tefillin.
“Kazimir Malevich,” writes N. Tumarkin, after being told of Shchusev’s idea to build a mausoleum in the form of a cube, “also believed that the Mausoleum should be given the form of a cube. Shortly after Lenin’s death, he wrote on the subject: “The view that Lenin’s death is not death, that he is alive and eternal is symbolized by a new object that takes the form of a cube. The cube is no longer a geometric figure. It is a new object through which we try to represent Eternity, to create a new set of circumstances – and to support with them Lenin’s eternal life, defeating death. Entering the cube to Lenin’s body is the first step into eternity, into a new future.
– Kazimir Malevich, from Alexander Medvedev’s The Abduction of Europe.
Malevich, like Yudin, made no secret of the fact that he was engaged in the creation of jewish cult objects, and the hexagon / six-pointed star is the geometric form of the racial jewish soul, in this particular case, the soul of Lenin as part of the jewish collective mind.
Malevich’s plan was to establish Leninist corners everywhere, where music and poetry dedicated to the leader would be played, and every Leninist would have a cube at home, “a reminder of the eternal, permanent lesson of Leninism. Like the pyramid, the cube would represent the main symbol of the cult.
Moreover, the musical brainwashing of every Leninist, according to the same source, according to Malevich, should be spinning all day long, every minute and every second without a break and without any other music. The 66th book of the Bible, Revelation, describes being in the jewish paradise in much the same way – the angels, voiceless, senseless, obedient slaves, having no opinion of their own, praising their master around the clock, never shutting up and not knowing anything else. Given that Stalin was preparing the world revolution, we can say that we owe the preservation of the world’s musical culture and classical heritage exclusively to the Third Reich, which stopped it.
Kazimir Malevich, Commissar of the Department of Fine Arts of the Council of People’s Commissars, not only dreamed of removing all Gentile Culture from the reach of enslaved Goyim, he did it with his own hands. He himself took students of the St. Petersburg Academy of Art to beat ancient statues. Another jew, Pavel Filonov, chairman of the revolutionary tribunal, who personally signed death sentences, was also involved in beating antique statues.
“Thus the Old Testament is replaced by the New Testament, the New Testament is replaced by the Communist Testament, and the Communist Testament is replaced by the Suprematist Testament.”
Suprematism from the English Supremacy means the superiority of someone over someone else. Jewish Suprematism is a very long-known term in the West, best explained in the talmud, by phrases such as:
Baba Necia 114:6: “The jews are human beings, and the other nations of the world are not men, but beasts.”
Seph. Jp., 92, 1: “God gave the jews power over the property and blood of all nations.”
This is what Malevich’s grave looked like:
“A shallow square hole (80x80x80m) was dug under an oak tree, cemented inside, and an urn was lowered there. The urn was made of plaster in the form of a cylinder, 0.15 cm. The hole was filled in, a cement cube (80x80x80) was placed on top, with a black square on the side.
The jews in the USSR did not hide their racial religion or magic. They built mausoleums in the form of occult symbols and openly wore them. In the famous photo of the staff of UNOVIS, taken in Vitebsk around 1920, next to K. Malevich and other activists of UNOVIS stands Lev Yudin. On his right hand, not far from the brush, we see a black square on the white background of his sweatshirt. Pay attention – not on the palm, we find the same on the sitting Ilya Chashnik.
In V. Krestovsky’s novel “Secrets of St. Petersburg” in the description of the office of a jewish scientist we find the following lines: “… the most striking thing that catches your eye when you leave the office is a solid black rectangle, inscribed on the wall above the door, and in it two white letters serving as the initials of the words ‘Zaher Lahurban’, which means ‘in memory of the fall of the Temple and the kingdom'”.
To commemorate the destruction of the Temple in Jerusalem, there was a tradition in jewish homes of leaving part of the unpainted wall as a square, or rectangle.
“…every Leninist should have had a cube at home.”
Leonid Katsis in his work Ideology of Vitebsk Unovis, the Jerusalem Temple and the talmud attributes the “Black Square” to the tefillin:
“Let us ask ourselves the question: ‘What could the expression ‘black square on a black background’, ‘black square on a white background’, etc. mean for young jewish artists from Vitebsk who had lived their entire lives in the jewish province? How were they supposed to perceive this subject (and is it a subject?) if they themselves wrote: “Wear a black square…”? No less than 5 times a week they saw, if they didn’t use it themselves, an object which was a “black cube on a black square”. This is tefillin, a ritual object worn by jews when praying. It is clear that the black cube on a black background will give us the “black square on a black background”.
I. Dukhan, a historian of the Vitebsk avant-garde, also saw a tiflin in the picture:
“The transformation of the ‘square’ into a ‘volume’, namely into a ‘cube’, has as its prototype the jewish prayer tefillin, whose location indicates the apocalypse and the beginning of a new era.”
The jewish apocalypse is described in Book 66 of the bible, Revelation, which is the coming of the New Jerusalem or “Zion”, the kingdom of the temporal God on earth, which according to the Bible is 1500 miles high, deep and wide and is a perfect cube. Also this very moment when the jewsus will throw all non-jews into Hell and all jews will be given 2800 slaves each.
Muslims believe that at the moment of the Last Judgment, when the Mahdi comes, the Kaaba Stone will speak and testify against the Gentiles (non-jews by blood) in favor of the jews.
“The transformation of ‘square’ into ‘volume,’ namely, into ‘cube,’ has as its prototype the jewish prayer tefillin, whose location indicates the apocalypse and the beginning of a new era.”
The description of the jewish collective mind itself is revealing: soulless, unreasonable, non-reasonable “spiritual materialism. It is the microchipping of the goyim, replacing the living mind with a digital mind that is easy to control. This will be the jewish end of the world.
From a letter of Malevich to M.O. Gershenzon: “…Back to the church, < stopping at the fact> that all ways as spiritual perfection depletes; there is the impression or reality of the motion of inertia of the push of the once strong blow; something else hangs over spirituality, the spirit as a force determined by the complexity of the whole world of spiritual materialism, in it as if the perfection of a breathing world is completed. The moment comes that this world ends, its forms are decrepit, worn out. A new
Alexander Medvedev “THE KIDNAPPING OF EUROPE”. Part II