Russia backed Serbia in World War I, its huge number of military men made it a devastating force. It seemed like nothing external could stop the Russian force, but something internal could. That internal problem proved to be fatal for Russia’s monarchy. In 1917, the Bolsheviks overthrew the Russian Tsar and the Royal Family, turning the country into a communist society. Their goal was reform; the Bolsheviks wanted to erase Russia’s previous imperialistic history.
One remnant of the old world did remain though, and that was the Imperial Porcelain Manufactory (IMP), now renamed the State Porcelain Manufactory. Vladimir Lenin saw potential in the manufactory, and he would soon turn it into a hub of propaganda.
Of course, for the IMP to be suitable for the new regime, some changes needed to be made. The logo was changed to an industrial cog (represents new technology and a worker’s part of a greater whole, which is the basis of communism), with the iconic communist sickle and hammer. These symbols signified the union of the worker and the peasant. The whole idea of communism was that it would bring Russia from an agricultural country to an industrial one. Industrial elements such as smoking chimneys were included in hallmarks to help with this motif.
The new regime relied on the upper middle class for support. The revolution that had happened just years before brought everyone a reminder of the power in numbers. Knowing this, the communists kept the porcelain manufactory as a show of respect to previous Russian culture.
”The main reason for the Bolsheviks to maintain the porcelain factory was the preservation of cultural heritage,” Dr. Sjeng Scheijen, a historian, said.
As the years neared the 1930s, Stalin became the dictator of Russia. He used propaganda, much like his earlier counterpart, to eliminate all possible political opponents. The propaganda depicted Stalin as a friendly man, who adored sweet children and communist youth groups. Education and knowledge became central in the communist regime, and this whole idea stifled the creative processes of art.
“Everything really changes in the beginning of the 30s when artists themselves come under real pressure because there is no independent artistry anymore,” Scheijen said, ”If you are not part of a union, you can be seen as a parasite and be sent to a camp… If you would not completely conform, then you had a big problem.”
The system of art had been broken. What was formerly a hobby of creative thoughts and free work became a forced job to teach something useful.
“You see how a great artistic culture dies because of the pressure,” remarked Scheijen. ”When you go to the depositories of museums for the late 30s, it’s really depressing.”
The progressive and reforming ideas of 1917 had nearly been wiped out. Stalin had forced millions to go through a famine for political reasons. Mass imprisonment and executions were forced onto the people to keep them subjugated. More recently, the Berlin Wall was built and torn down to keep the people of East Berlin from leaving.
As John F. Kennedy once remarked: “Democracy is not perfect, but we have never had to put a wall up to keep our people in.”
One remnant of the old world did remain though, and that was the Imperial Porcelain Manufactory (IMP), now renamed the State Porcelain Manufactory. Vladimir Lenin saw potential in the manufactory, and he would soon turn it into a hub of propaganda.
Of course, for the IMP to be suitable for the new regime, some changes needed to be made. The logo was changed to an industrial cog (represents new technology and a worker’s part of a greater whole, which is the basis of communism), with the iconic communist sickle and hammer. These symbols signified the union of the worker and the peasant. The whole idea of communism was that it would bring Russia from an agricultural country to an industrial one. Industrial elements such as smoking chimneys were included in hallmarks to help with this motif.
The new regime relied on the upper middle class for support. The revolution that had happened just years before brought everyone a reminder of the power in numbers. Knowing this, the communists kept the porcelain manufactory as a show of respect to previous Russian culture.
”The main reason for the Bolsheviks to maintain the porcelain factory was the preservation of cultural heritage,” Dr. Sjeng Scheijen, a historian, said.
As the years neared the 1930s, Stalin became the dictator of Russia. He used propaganda, much like his earlier counterpart, to eliminate all possible political opponents. The propaganda depicted Stalin as a friendly man, who adored sweet children and communist youth groups. Education and knowledge became central in the communist regime, and this whole idea stifled the creative processes of art.
“Everything really changes in the beginning of the 30s when artists themselves come under real pressure because there is no independent artistry anymore,” Scheijen said, ”If you are not part of a union, you can be seen as a parasite and be sent to a camp… If you would not completely conform, then you had a big problem.”
The system of art had been broken. What was formerly a hobby of creative thoughts and free work became a forced job to teach something useful.
“You see how a great artistic culture dies because of the pressure,” remarked Scheijen. ”When you go to the depositories of museums for the late 30s, it’s really depressing.”
The progressive and reforming ideas of 1917 had nearly been wiped out. Stalin had forced millions to go through a famine for political reasons. Mass imprisonment and executions were forced onto the people to keep them subjugated. More recently, the Berlin Wall was built and torn down to keep the people of East Berlin from leaving.
As John F. Kennedy once remarked: “Democracy is not perfect, but we have never had to put a wall up to keep our people in.”
