"[T]he Bolsheviks, under Vladimir Lenin, took control of this symbol of tsarist decadence" — The Imperial Porcelain Manufactory — and renamed it the State Porcelain Manufactory, "seeing surprising potential in it..."

"...  as a wheelhouse for artistic innovation and the production of propaganda. Stocks of unpainted, snow-white china became a tantalising canvas for avant-garde artists keen to express their utopian ideologies and rouse enthusiasm for the new socialist era, giving this delicate, bourgeois material an unexpected, almost contradictory, second life.... Agitation porcelain, as it became known, featured effigies of Lenin and was decorated with calls to action.... [C]rockery once intended for the lavish feasts of the Romanovs was now emblazoned with militant Reds trampling upon their white ermine furs (Adamovich, 1923). Danko's porcelain chess set (1923) used the same colour play, with a red army taking on a white skeleton king whose proletariat pawns are in chains. While the porcelain plates' blocky constructivist artwork conveyed energy, explosions and destruction, the requisitioning of the factory was part of a softer approach to demonstrate the communists' respect for Russian patrimony, and ingratiate the precarious new regime with the powerful upper-middle classes whose support they depended on in order to govern."

From "How teapots were used to spread Russian propaganda" (BBC).

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