The object of the study is the work of Piet Mondrian, canonized as the apotheosis of "cold" geometric abstraction. The subject of the research consists of the dialectical relationship between "hot" and "cold" elements in his artistic system – from the ideological genesis to cultural metamorphoses. Special attention is paid to the operationalization of the dichotomy "hot/cold," borrowed from the media theory of Marshall McLuhan and enhanced by the concept of "uncertainty" by Wolfgang Iser. The study traces how the "hot" theosophical-utopian content evolves and is "sublated" (in the Hegelian sense) into the formally rational structure of neoplasticism. Key aspects are analyzed: the genesis of the "cold" form from "hot" spiritual searches, its place in the triad of European abstraction (Kandinsky, Malevich, Mondrian), as well as the sociocultural "biography" of Mondrian's works, during which their "temperature regime" is redefined in the processes of canonization, commodification, and vulgarization. The methodological foundation is a synthesis of phenomenological, dialectical-philosophical, and sociocultural approaches that allows for the disclosure of the multidimensionality and dynamic nature of his artistic project. The scientific novelty of the research lies in the development and testing of an original three-level analytical model that synthesizes the media logic dichotomy of "hot/cold" (M. McLuhan), the philosophical concept of sublation (G.W.F. Hegel), and the tools of sociocultural analysis (I. Kopytoff, P. Bourdieu, J. Baudrillard). This synthesis enables the overcoming of the limitations of purely formalist or sociological approaches to Mondrian's work. For the first time, the dialectic of "temperatures" is systematically applied not only to analyze the internal evolution of his style but also to trace the external "biography" of his forms, revealing the dynamic nature of seemingly static abstraction. The main conclusions of the study confirm that the mature "cold" system of neoplasticism is the result of the dialectical sublimation of "hot" theosophical-utopian content, rather than its negation. Mondrian's work occupies a unique place in the European avant-garde as a project of constructive synthesis, in contrast to Kandinsky's "hot" expression and Malevich's "cold" negation. The analysis of the cultural metamorphoses of the artist's legacy demonstrates that the "temperature regime" of his works is not an inherent property but is historically changeable, determined by the logic of their reception field – from museum canonization to commercial appropriation.
Lingzhi Lyu (Thu,) studied this question.