The author conducts a comparative analysis of the peasant cosmos representations in the Russian avant-garde art and of Nikolai Fedorov’s aesthetic supra-moralism based on the works of visual art, articles, treatises, autobiographies and letters of K. Malevich, N. Goncharova, P. Filonov and V. Chekrygin. Aesthetic supra-moralism as the highest morality or “Universal Synthesis” is Fedorov’s religious-philosophical doctrine promoting the idea of cosmism as a project of world order based on the all-unity and a synthesis of science, art and religion. Avant-garde artists expressed their understanding of the human involvement in the multifaceted and complex spatial relationships through images of the peasant world. By comparing the anthropological projection of the Russian avant-garde art with Fedorov’s project of aesthetic supra-moralism, the author shows the similarity between the artistic images of peasant cosmos and the cosmic ideas about the correlation between macrocosm (universe) and microcosm (individuals). In this context, the author explains Malevich’s return to figurativeness and anthropocentrism in his second peasant cycle. The article also considers cosmic intuitions of the Russian avant-garde as related to the perception and interpretation of the sacred church space and of the nature as a temple. Feodorov’s ekphrasis of the Orthodox church describes the liturgical image of all-unity and kinship, uniting the peasant world as a cosmos. Malevich reduces this description to a color image or a feeling, in which the temple’s objectivity dissolves.