Propaganda Porcelain

Luxury tableware became an effective tool for propaganda because of its ability to promote motivational slogans to the public through its domestic and social use. The release of these thematic items started at the Imperial Porcelain Factory, which was later renamed the State Porcelain Factory in Petrograd in 1918 and was put under the control of the People's Commissariat for Education. In 1925, the factory was renamed once more to the Lomonosov Porcelain Factory.

Sergey Chekhonin was a prominent artist known for his exceptional skills in painting, graphic design, calligraphy, and ceramics. Fr om 1918 to 1923, he served as the creative head of the State Porcelain Factory (formerly the Imperial Porcelain Factory), wh ere he established a new direction in porcelain production. He became famous as the "master of the imperial-Soviet empire style". He was passionate about the ideas of the revolution and inspired his colleagues to work. The factory's products were transformed into a unique blend of art and ideology, reflecting the values of the ruling party. The dishes were adorned with symbols of the working and peasant classes, and the artists created new typefaces and intricate heraldic designs. The State Porcelain Factory's products carried the brand of a hammer and sickle with a gear fracture. Surprisingly, the artists also incorporated religious symbols, such as an angel of the revolution or a winged horseman resembling St. George, despite being an atheistic society.

In the 1920s, the factory collaborated with well-known avant-garde painters, particularly Kazemir Malevich's followers. Although they were quickly suspended from work, the supremacists managed to make a significant contribution to the creation of dishes of non-standard shapes and decoration. According to the memoirs of Elena Danko "none of the factory’s products are so highly appreciated in our country and the West, none has such several orders, penetrating everyday life as items that have not only practical but also aesthetic value as suprematist tableware." Natalia Danko, her half-sister, contributed to the birth of a different art form as a sculptor and creator of miniature plastics, which formed a history of the new government's early years. The revolutionary philosophy was most powerfully expressed in the sculptor's porcelain figures.

The portrait genre was also actively developing. Many prominent leaders, politicians, and military figures were depicted on porcelain items of decorative and applied art.

Propaganda porcelain of the State Porcelain Factory was very popular abroad, and most of the items were sold at auctions and exhibitions. During this period, legendary artists created hand-painted objects in limited editions. However, by the mid-1930s, the interest began to fade, and artists moved on to other styles.