{"id":"unism","no":479,"name":"Unism","ja":"ユニスム","era":"1923–1936","family":"幾何学抽象","kind":"スタイル","collection":"Dictionary expansion 23","addedAt":"2026-08-18","source":{"title":"Monoskop — Władysław Strzemiński","url":"https://monoskop.org/W%C5%82adys%C5%82aw_Strzemi%C5%84ski"},"reference":{"status":"verified","pageUrl":"https://monoskop.org/W%C5%82adys%C5%82aw_Strzemi%C5%84ski","credit":"Monoskop — Władysław Strzemiński","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/W%C5%82adys%C5%82aw%20Strzemi%C5%84ski%20-%20Kompozycja%20abstrakcyjna%20(1933).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:W%C5%82adys%C5%82aw%20Strzemi%C5%84ski%20-%20Kompozycja%20abstrakcyjna%20(1933).jpg","credit":"Władysław Strzemiński《抽象コンポジション》1933 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/W%C5%82adys%C5%82aw%20Strzemi%C5%84ski%2C%20The%20Sticky%20Spot%20of%20Crime.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:W%C5%82adys%C5%82aw%20Strzemi%C5%84ski%2C%20The%20Sticky%20Spot%20of%20Crime.jpg","credit":"Władysław Strzemiński 作品 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/W%C5%82adys%C5%82aw%20Strzemi%C5%84ski%20-%20Pejza%C5%BC%20morski%20(1933).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:W%C5%82adys%C5%82aw%20Strzemi%C5%84ski%20-%20Pejza%C5%BC%20morski%20(1933).jpg","credit":"Władysław Strzemiński《海の風景》1933 — Wikimedia Commons / Public domain"}]},"essence":"画面に対比も中心も置かず、全体を一つの均質な有機体として成立させよと説いたポーランドの理論。図と地の階層を消し、色面が縁まで等価に連続する。均質なグリッドと全面構成の理論的な祖先にあたる。","cues":["中心と対比の排除","縁まで等価に連続する色面","図と地の階層の消去","微差で構成される全面"],"intents":["静けさ","信頼"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["suprematism","de-stijl"],"study":["ストシェミンスキのユニスム理論","カトジナ・コブロの空間彫刻","ウッチ美術館のコレクション"],"en":{"essence":"A Polish theory holding that a picture should contain neither contrast nor centre, existing instead as a single homogeneous organism. The hierarchy of figure and ground is erased, and the colour surface continues with equal weight to the very edge. The theoretical ancestor of the uniform grid and all-over composition.","cues":["Elimination of centre and contrast","Colour surfaces continuing equally to the edge","Erasure of the figure-ground hierarchy","All-over fields built from minute differences"],"works":["Quiet textural backgrounds and wallpapers with no focal point by design","Systematic pattern and grid programmes where evenness is the brand's voice"],"recipe":{"type":"A single weight of a neutral sans, evenly set—typography as texture, not accent","layout":"An edge-to-edge field with no centre; rhythm from minute modular variation only","material":"Close-valued hues in matte, even surfaces—differences of a few steps at most"},"avoid":"Avoid introducing any focal accent; one emphasised element restores the hierarchy Unism exists to abolish.","study":["Strzemiński's theory of Unism","Katarzyna Kobro's spatial sculpture","The collection of the Muzeum Sztuki in Łódź"]}}