RBTH RBTH RBTH RBTH RBTH The town of Chekhov, 32 miles south of Moscow, has seen the start of one of the most unusual theater festivals, known as Melikhovo Spring. Founded in 1954, the town of Chekhov was named after the Russian writer right from the start. The choice of name was conditioned by the proximity of Melikhovo Estate, where Anton Chekhov lived and worked. RBTH RBTH RBTH
俄罗斯美女：电影演员、芭蕾演员、世界小姐索菲亚•阿尔扎科夫斯卡娅 边陲生活故事：中国人眼中的俄罗斯远东边境

上世纪初的俄陶器：融合贵族情调和苏联政治宣传

20世纪初期是俄罗斯社会变革转折的关键点，也是艺术文化的白银时代。曾作为贵族家庭装饰品的瓷器也在苏联政体下出现新的发展，并在立体主义、至上主义等前卫艺术的带动下获得全新的表达形式。
来源： 《透视俄罗斯》
Fine china has always been considered a decoration of aristocratic households in Russia. In pre-revolutionary times, porcelain figures and dishes were essential elements of the czars’ palaces, nobles’ mansions, merchants houses, and in the apartments of the intelligentsia. / Place with the inscription “The Path to Socialism”. 1927. Drawing and painting by Z. V. Kobyletskaya.
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瓷器在俄罗斯一直被认为是贵族家庭的装饰品。在十月革命前夕，瓷器装饰品和厨具是沙皇宫殿、贵族宅邸、商人住宅和知识分子公寓的必备元素。/刻有铭文“通往社会主义之路”的餐碟，Z.V.科贝列斯卡娅于1927年创作。
In the first years after the 1917 Revolution, porcelain statuettes and elegant dish sets, in addition to other elements of the ‘bourgeois past’ were deemed to be philistine. The factories that produced them were nationalized and destroyed. / A plate commemorating the fifth anniversary of the October Revolution. 1922. M. B. Lebedeva.

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1917年革命后的最初数年，瓷质雕像、精致的成套餐盘与其他“资产阶级过时”元素一起被视为庸俗。生产它们的工厂都被国有化和关门。/纪念十月革命五周年的瓷盘，M.B.莱贝德娃于1922年创作。
This trend did not continue for long, as Soviet porcelain replaced white elephants and gilded angels. / Plate. 1924. Z. V. Kobyletskaya.

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这种趋势并没有持续很长时间，苏联的瓷器取代了大理石白象和镀金天使。/瓷盘，Z.V.科贝列斯卡娅于1924年。
The new authorities understood well that Soviet culture could successfully use the experience developed in czarist times. / Cubist design with a hammer. 1919. P. V. Kuznetsov.

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新政府当局深知苏联文化能成功借鉴沙俄时代的经验。/立体主义派创作的锤子，P.V.库兹涅佐夫于1919年。
Images of building socialism, scenes from the life of Soviet workers, and Soviet emblems were displayed on porcelain dishes. / “The Red Genius”. 1920. A. R. Golenkina.

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磁碟上展现了社会主义的建设画面、苏联工人的生活场景以及苏联标志。/《红色精灵》，A.R.戈连金娜于1920年。
Soviet china, in addition to its aesthetic significance, possesses enormous historic value. It can be observed to study the development of the era’s imprints and marks. / “RSFSR”. Composition from 1918 and a variation released in 1922.

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苏联的瓷器除了具有审美意义外，还拥有巨大的历史价值。透过它可以观察和研究那个时代的发展印记。/《苏俄》，1918年问世和1922年再次发行。
Avant-garde art from the 1920s also served as a motif for dish decorations. / “A Red Man”. 1926. Drawing by M. M. Adamovich, inscription by M. P. Kirillova.

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从20世纪20年代开始，前卫艺术也被用于绘制盘形装饰品的图案。/《红色的人》，M.M.阿达莫维奇绘制、M.P.基里洛娃题词。
A plate from the “Black Ribbon” table set. 1923-1924. Drawing and painting by I. G. Chasnik.

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《黑丝带》成套餐具中的一个盘子，I.G.查斯尼克于1923-1924年创作。
“Suprematism” table set. 1923. Painting by N. M. Suetin.

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“至上主义”风格的成套餐具，N.M.苏艾缇娜于1923年绘制。
“The Path to Socialism” table set. 1923. Painting by N. M. Suetin.

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成套餐具《通往社会主义之路》，N.M.苏艾缇娜于1923年绘制 。
Sculpture of Anna Akhmatova. Anna Akhmatova (1889-1966) was a famous Russian poet, translator, and literary critic. 1924.

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安娜·阿赫玛托娃的雕塑，1924年。安娜·阿赫玛托娃（1889-1966年）是俄国著名诗人、翻译家、文学批评家。
Sculpture of a ceramist. 1926.

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一尊制陶匠雕塑，1926年。
Sculpture. “The Speech”. Model from 1919, released in 1924.

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雕塑《演讲》，模子制作于1919年，问世于1924年。
“Shock Worker” (Rus. Udarnitsa). Early 1930s.

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《女劳动突击手》，20世纪30年代早期。
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2014年6月26日
标签: 苏联、 历史、 传统

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