1890年代以降，俄國經歷重大藝術危機，各種流派紛起追尋新美學以表述當代生活，創作上則有強烈的語言轉向與美學變異傾向。前衛的立體未來主義詩人企圖結合生活與藝術活動，以克服現在，懷抱未來，詞語由是成為體現烏托邦世界觀的手段。克魯喬內赫（А. Крученых）與赫列布尼科夫（В. Хлебников）以「無意義語言」或「玄妙語言」（заумный язык）創作，藉語音表達詞語的物質性及世界本質。本文先察考十九、二十世紀之交的知識脈絡與立體未來主義宣言中表述的詞語觀，再聚焦兩位詩人進行的詩語實驗，以探討立體未來主義詩學特點與美學內涵。論述過程得出結論為：立體未來主義詩人克魯喬內赫的語音詩解放詞語，與傳統完全斷絕；赫列布尼科夫的詩語則仍有日常語言之印記，而且蘊涵其個人複雜的世界觀。

Ever since the 1890s after the art crisis broke out in Russia, various artistic schools had appeared one after another to find new aesthetics for expressing modern life. The poets paid their attention to the nature of language and consider it the main body of creation. The most radical among them are cubo-futurists. They tried to combine life and art activities and hoped to embrace the future. Language therefore became a means of reflecting their Utopian worldview. The works of A. Khruchenykh and V. Khlebnikov were composed by the “meaningless language” or “zaumny (transrational) language”. They used sounds to express the materiality of the words and the essence of the world. In this article, author looks over the knowledge path of the shaping of futurism at the edge of 19th and 20th centuries and the concept of the words in the manifesto of cubo-futurism, focuses on several poems of A. Khruchenykh and V. Khlebnikov, and then analyzes their aesthetic essence and the characteristics of cubo-futurism. The conclusion is that, the sound-poems of A. Khruchenych free the words and totally break from the tradition, while the poems of V. Khlebnikov still consist of the trail of day-to-day language and the complicated personal world view.