the head of the plates was sergei chikhonin from the group “ in 1925, this tea pair of sergei chikhoninslogans liberte and galite fraternite, freedom of equality of brotherhood, was written on plates both in france and later in russia. in the thirties, the process of searching for new forms of ideas almost ceased. glorification of the collective farm system and construction. come on, come on with a smile, more, more, more, great, good, so, it’s morning in russia, don’t oversleep, the main thing. good morning, hello , elena nikolaeva, denis stoykov, we are with you, you are with us, wednesday is outside the window, march 13 is on the calendar, and you have subscribed to the telegram channel morning russia, if not, then do it urgently, well, sometimes it’s good for us from the outside take a look, because there are all sorts of nuances there, works that are not included in the frame are actually posted. well, all together, let’s also look at ourselves from afar. the earth in the porthole. cosmonaut nikolai chup captured how the iss enters the shadow side of our planet. he suggested puttin

the main skeet player was sergei chikhonin from the world of art group.ended sets. his plate he who is not with us is against us - an example of laconicism and style. the artists broke the canons and stereotypes of porcelain production and achieved international recognition. there are stamps that have been preserved on... out of grade, this is the highest aerobatics, in some places there are not even factory stamps, there is such a signature from the hand of the artist, these are apparently single copies. in 1925, this tea pair by sergei chikhonin received a gold medal at the world exhibition in paris. it is interesting that the first propaganda porcelain appeared after the great french revolution, and the slogans liberte and golite, fraternite, freedom. brotherhoods wrote on plates both in france and later in russia. in the thirties, the process of searching for new forms and ideas almost ceased. the glorification of the collective farm system and the five-year plan left artists little room for imagination. but porcelain tableware never became a real agi

central executive committee on april 13, 1918, it was created by student ilya repin, artist sergei chikhonintake root. only in 1924, the flag of the ussr , familiar to many from childhood, became the red banner with a sickle, hammer and star. this option remained unchanged until the collapse of the soviet union. the red flag today is perceived not only and not so much. as a symbol of the ussr, but as symbol of a great victory. on the victory flag, in addition to the hammer and sickle, there is the inscription 150 order of kutuzov, second degree idred rifle division. idritsa is a small and quiet village in the southeast of the pskov region, almost on the border with belarus. fierce fighting raged here for almost 8 months. the 150th infantry division received the name idritskaya for the liberation of the village from fascist occupation in july 1944 . 8 military units and formations received the honorary name idrez, among them was the 150th rifle division, which that's just it...

the main plate winner was sergei chikhonin from the world of art group.ived a gold medal at the world exhibition in paris. it is interesting that the first propaganda porcelain appeared after the great french revolution, and the slogans liberte and golité fraternet, freedom, equality, brotherhood, were written on plates both in france and later in russia. in the thirties, the process of searching for new forms of ideas almost ceased. the glorification of the collective farm system and the five-year plan left artists little room for imagination. and a real agitator and porcelain tableware never became a propagandist, because it costs. it was expensive to create unique works by hand; unfortunately, this required time; the idea of ​​​​putting these same crucible plates into everyday life was not realized. at the exhibition you can see porcelain from the middle of the 20th century; in the fifties and sixties the state tried to develop the artistic taste of the population, but often this led, on the contrary, to the replication of porcelain kitsch. but the rev