蘇聯紀念碑、紀念像雕塑

不管是從藝術，還是曆史的角度來看，蘇聯出于宣傳和紀念目的在其國(guó)内外修建的一系列雕塑，都在規模、藝術造詣、數量等方面做到了前無古人，後無來者。蘇聯解體(tǐ)後，這些雕像的歸宿各不相同，又(yòu)折射了其所在地的諸多(duō)現狀，也是頗為(wèi)有(yǒu)趣。

Whether from an artistic or historical point of view, a series of sculptures built by the Soviet Union at home and abroad for propaganda and commemorative purposes have achieved unprecedented and unprecedented in terms of scale, artistic attainment, and quantity. After the collapse of the Soviet Union, the fate of these statues varied, reflecting many of the current conditions of their location, which is also quite interesting.

匈牙利布達佩斯的斯大林像。

Statue of Stalin in Budapest, Hungary.

俄羅斯是世界上雕塑數量最多(duō)的國(guó)家之一，雕塑作(zuò)為(wèi)紀念意義和文(wén)化價值的重要載體(tǐ)，被俄羅斯的曆屆政權所重視。

Russia is one of the countries with the largest number of sculptures in the world, and sculpture as an important carrier of commemorative significance and cultural value has been valued by successive Russian regimes.

從沙俄時期開始，雕塑就是俄羅斯藝術的重要組成部分(fēn)。1782年，聖彼得堡樹立起了描繪彼得大帝騎馬形象的《青銅騎士》雕塑（普希金的叙事詩《青銅騎士》便是講述這尊雕像複活、帶領軍民(mín)反抗法國(guó)人侵略的故事），是俄羅斯的第一個紀念性雕塑，代表着俄羅斯的民(mín)族主義意識覺醒的開端。

Since the Tsarist period, sculpture has been an important part of Russian art. In 1782, St. Petersburg erected the sculpture “Bronze Horseman” depicting Peter the Great on horseback (Pushkin’s narrative poem “The Bronze Horseman” tells the story of the statue resurrected and led the army and people against French aggression), which was the first monumental sculpture in Russia and represented the beginning of the awakening of nationalist consciousness in Russia.

蘇聯建立之後，新(xīn)生政權的領導人很(hěn)快就認識到了紀念性質(zhì)的雕像在宣傳戰線(xiàn)的巨大價值。1918年4月，列甯簽署了《紀念碑宣傳法令》，要求拆除廣場和街(jiē)道上的沙皇及其奴仆的那些象征舊的剝削權力的紀念碑，同時建立新(xīn)的紀念碑。法令要求，新(xīn)豎立的紀念碑包括無産(chǎn)階級革命家和社會活動家、政治家、作(zuò)家和詩人、科(kē)學(xué)家和哲學(xué)家、美術家和作(zuò)曲家、演員等。該法令還要求紀念碑雕塑的外觀需要民(mín)主決定，每一個紀念碑雕塑都是由數個藝術家競争投稿、當地公(gōng)民(mín)海選出來的。

After the establishment of the Soviet Union, the leaders of the nascent regime quickly recognized the great value of commemorative statues on the propaganda front. In April 1918, Lenin signed the Decree on the Propagation of Monuments, which demanded the demolition of the old monuments symbolizing the exploitative power of the Tsar and his servants in the squares and streets, and the erection of new monuments. The decree requires that the newly erected monuments include proletarian revolutionaries and social activists, politicians, writers and poets, scientists and philosophers, artists and composers, actors, etc. The decree also requires that the appearance of monumental sculptures be democratically decided, and that each monumental sculpture be submitted by several artists and selected by local citizens.

《紀念碑宣傳法令》是一個新(xīn)時代的開啓，這個法令通過要求大範圍在城市、紀念地等地建造雕塑，使蘇俄、蘇聯藝術家們開始了一系列新(xīn)藝術形式的探索。其中(zhōng)著名(míng)的有(yǒu)《第三國(guó)際紀念碑》（雖然并沒有(yǒu)也不可(kě)能(néng)在彼得格勒市中(zhōng)心建起），代表着先鋒藝術在蘇聯的嘗試。《工(gōng)人和集體(tǐ)農莊女莊員》，是1937年世博會中(zhōng)在蘇聯國(guó)家館頂豎起的雕塑，這是世界上第一個不鏽鋼雕塑，也是第一個運用(yòng)建築工(gōng)程學(xué)手段建造的巨型雕塑，代表着蘇聯戰前的雕塑藝術的頂峰。

The Decree on the Propagation of Monuments was the beginning of a new era in which Soviet and Soviet artists began to explore a series of new art forms by requiring the large-scale construction of sculptures in cities, memorials, etc. The famous of these is the Monument to the Third International (although it was not and could not have been erected in the center of Petrograd), which represents an attempt at avant-garde art in the Soviet Union. “Workers and Collective Farm Ladies”, a sculpture erected on the roof of the Soviet State Pavilion at the 1937 World Expo, is the world’s first stainless steel sculpture and the first giant sculpture built using architectural engineering, representing the pinnacle of Soviet sculpture art before the war.

二戰之後，為(wèi)了紀念衛國(guó)戰争的勝利，蘇聯官方開始了一系列新(xīn)的“英雄主義”雕塑的建造，反映了戰争、勝利、解放等題材，形成了一種新(xīn)的藝術形式：紀念藝術綜合體(tǐ)。這些紀念藝術綜合體(tǐ)規模宏大、藝術感染力強，具(jù)有(yǒu)一種史詩感。紀念藝術綜合體(tǐ)的開端便是《蘇軍解放柏林紀念碑》，以時間叙事呈現了衛國(guó)戰争的史詩。除了紀念藝術綜合體(tǐ)以外，單體(tǐ)雕塑也層出不窮，除了蘇聯境内每個城鎮幾乎都有(yǒu)的斯大林、列甯等蘇聯早期領導人的雕像以外，也出現了一些描繪本國(guó)曆史人物(wù)的雕塑，例如1951年莫斯科(kē)的《高爾基紀念像》、1957年列甯格勒的《普希金紀念像》等等，在藝術上造詣很(hěn)高。

After World War II, in order to commemorate the victory in the Great Patriotic War, the Soviet Union officially began the construction of a series of new “heroic” sculptures, reflecting the themes of war, victory, liberation and other themes, forming a new art form: the memorial art complex. These commemorative art complexes are grand in scale, highly artistically appealing, and have a sense of epic. The beginning of the commemorative art complex is the “Monument to the Liberation of Berlin by Soviet Troops”, which presents the epic poem of the Great Patriotic War in a chronological narrative. In addition to the statues of Stalin, Lenin and other early Soviet leaders that are almost in every town in the Soviet Union, there are also some sculptures depicting historical figures in their own countries, such as the “Gorky Memorial Statue” in Moscow in 1951, the “Pushkin Memorial Statue” in Leningrad in 1957, etc., which are highly accomplished in art.

随着蘇聯國(guó)力日益增強，在20世紀60至80年代，蘇聯及其衛星國(guó)、盟國(guó)境内湧現出了一批包括但不限于反映民(mín)族、國(guó)家曆史的紀念性藝術綜合體(tǐ)，規模體(tǐ)量極為(wèi)驚人，是蘇聯整體(tǐ)國(guó)家實力的展現。例如《征服宇宙紀念碑》，高達102米。斯大林格勒馬耶夫崗上的《祖國(guó)母親在召喚》，高達85米，代表了紀念藝術綜合體(tǐ)的最高水平之一。

With the increasing national strength of the Soviet Union, in the 60s and 80s of the 20th century, a number of monumental art complexes including but not limited to reflecting the history of the nation and the country emerged in the territory of the Soviet Union and its satellite countries and allies. For example, the “Monument to the Conquest of the Universe”, which is 102 meters high. “Mother Motherland is Calling” on the Maev post in Stalingrad, up to 85 meters, represents one of the highest levels of the monumental art complex.

蘇聯的雕塑藝術既繼承了俄羅斯民(mín)族的文(wén)化藝術傳統，又(yòu)有(yǒu)着官方的重視，因此才有(yǒu)了巨量、巨型的星羅棋布于蘇東各國(guó)的諸多(duō)蘇聯雕像。那麽，在蘇聯這個國(guó)家不複存在之後，蘇聯的雕像們，現在怎麽樣了？

The sculpture art of the Soviet Union not only inherits the cultural and artistic traditions of the Russian nation, but also has official attention, so there are many huge and huge Soviet statues scattered in the countries of the Soviet Union and Eastern Europe. Well, after the state of the USSR ceased to exist, what happened to the statues of the USSR now?

上面所列舉的蘇聯雕塑，大多(duō)都是具(jù)有(yǒu)相當大的美學(xué)價值與曆史紀念意義的，因而基本上保存完好。由于這種紀念性藝術綜合體(tǐ)的豐富感染力，在後蘇聯時代，全世界各國(guó)都有(yǒu)仿照蘇聯紀念性藝術綜合體(tǐ)的雕塑群出現。

Most of the Soviet sculptures listed above have considerable aesthetic value and historical monumental significance, so they are basically well preserved. Due to the rich appeal of this monumental art complex, in the post-Soviet era, sculpture groups modeled on the Soviet monumental art complex appeared in countries all over the world.

俄羅斯在獨立之後就在不停建造這類雕塑，以雕塑重現曆史的方式喚醒俄羅斯民(mín)族意識的認同。例如在1995年建成的莫斯科(kē)《勝利女神紀念碑》，采用(yòng)了民(mín)族叙事的方式，代表着當代俄羅斯的民(mín)族意識複興、社會轉型。

After independence, Russia continued to build such sculptures, awakening the identity of the Russian national consciousness in a way that recreates history. For example, the “Monument to the Goddess of Victory” in Moscow, completed in 1995, adopts the method of national narrative and represents the revival of national consciousness and social transformation in contemporary Russia.

朝鮮作(zuò)為(wèi)繼承了蘇聯的傳統的國(guó)家，不僅在其國(guó)内建造了衆多(duō)領導人雕像，還向國(guó)外出口了許多(duō)雕塑創彙。朝鮮“萬壽台工(gōng)作(zuò)室”的巨型紀念性藝術綜合體(tǐ)雕塑，也可(kě)以算是一種蘇聯雕塑的繼承者。

As a country that inherits the traditions of the Soviet Union, North Korea not only built many statues of leaders in its own country, but also exported many sculptures abroad to earn foreign exchange. The giant monumental art complex sculpture of the North Korean “Mansudae Studio” can also be regarded as the successor of a kind of Soviet sculpture.

而能(néng)夠喚醒民(mín)族意識的蘇聯雕塑，也被前蘇東國(guó)家完好地保留，甚至在今日已成為(wèi)了本國(guó)的民(mín)族象征之一。這種雕塑當中(zhōng)尤為(wèi)令人印象深刻的就是幾個“祖國(guó)母親”雕塑，分(fēn)别是位于格魯吉亞首都第比利斯的《格魯吉亞母親》、烏克蘭首都基輔的《祖國(guó)母親》、亞美尼亞首都耶烈萬的《亞美尼亞母親》。

The Soviet sculptures that can awaken the national consciousness have also been well preserved by the former Soviet and Eastern countries, and even today have become one of the national symbols of the country. Particularly impressive are several “Motherland” sculptures, namely “Mother Georgia” in Tbilisi, Georgia, Kiev, Ukraine, and “Armenian Motherland” in Yerevan in Armenia.

《格魯吉亞母親》建于1958年，是為(wèi)了慶祝格魯吉亞建國(guó)1500年而立。它不似其他(tā)紀念衛國(guó)戰争的雕塑巨大，隻有(yǒu)20米高，外形簡約，具(jù)有(yǒu)現代主義風格，但是其左手執酒碗、右手持利劍的動作(zuò)，彰顯了格魯吉亞熱情好客、追求獨立的民(mín)族精(jīng)神。

Mother Georgia was built in 1958 to celebrate the 1500th anniversary of the founding of Georgia. It is not as huge as other sculptures commemorating the Great Patriotic War, only 20 meters high, simple in appearance, with a modernist style, but its left hand holding a wine bowl and right hand holding a sharp sword highlights the Georgian national spirit of hospitality and independence.

建于1950年的《亞美尼亞母親》雕塑也承載了亞美尼亞的民(mín)族意識，其執利劍，怒發沖冠，神色可(kě)怖，像是亞美尼亞民(mín)族在經曆了上千年的苦難之後怨氣的集中(zhōng)爆發。

The sculpture “Mother Armenia”, built in 1950, also carries the national consciousness of Armenia, with a sharp sword, angry and terrifying look, like a concentrated outbreak of resentment of the Armenian nation after thousands of years of suffering.

《祖國(guó)母親》位于基輔的市中(zhōng)心，烏克蘭母親河第聶伯河右岸，于1981年為(wèi)了紀念衛國(guó)戰争當中(zhōng)的基輔會戰而建造，也是祖國(guó)母親雕塑當中(zhōng)最有(yǒu)名(míng)的一個。她左手持刻有(yǒu)蘇聯國(guó)徽的盾牌，右手持劍，神情堅毅。雕像下方是烏克蘭愛國(guó)戰争紀念館，擁有(yǒu)超過三十萬個展品，且是11600名(míng)戰士與民(mín)工(gōng)的衣冠冢。

Located in the center of Kiev, on the right bank of the Dnieper River, Ukraine’s mother river, “Motherland” was built in 1981 to commemorate the Battle of Kiev in the Great Patriotic War, and is also one of the most famous sculptures of Motherland. She held a shield engraved with the Soviet coat of arms in her left hand and a sword in her right, with a resolute expression. Below the statue is the Ukrainian Patriotic War Memorial, with more than 300,000 exhibits and the clothes of 11,600 soldiers and migrant workers.

值得一提的是，這尊雕塑耗資不菲，在建造當時便引發了巨大争議，被稱為(wèi)“勃列日涅夫的女兒”，62米高，由钛合金和不鏽鋼制成。其國(guó)内反對者認為(wèi)這筆(bǐ)巨資應當被用(yòng)在更有(yǒu)價值的地方。2015年，烏克蘭議會通過決議，清除其國(guó)内一切蘇聯标志(zhì)，但是由于《祖國(guó)母親》是戰争紀念館而幸免，不過其盾牌上的蘇聯國(guó)徽被很(hěn)多(duō)人認為(wèi)應當拆除。專家表示，如果拆除蘇聯國(guó)徽，将會造成雕像整體(tǐ)失衡傾覆，因此争議擱置至今。

It is worth mentioning that the sculpture was expensive and caused great controversy at the time of its construction, and is called “Brezhnev’s daughter”, 62 meters tall and made of titanium alloy and stainless steel. Its domestic opponents argue that the huge sums should be spent where it is more valuable. In 2015, Ukraine’s parliament passed a resolution to remove all Soviet symbols from the country, but was spared because Mother Motherland is a war memorial, although the Soviet coat of arms on its shield is considered by many to be removed. Experts said that if the Soviet emblem were removed, the statue would be overturned as a whole, so the controversy has been put on hold.

前南斯拉夫國(guó)家克羅地亞的《革命紀念碑》，由鐵托下令建造，用(yòng)來紀念南斯拉夫遊擊隊對抗納粹的事迹。這尊雕塑具(jù)有(yǒu)後現代主義風格，意象大膽又(yòu)張揚。

The “Monument to the Revolution in the former Yugoslav state of Croatia”, built by Tito’s order, commemorates the deeds of the Yugoslav partisans against the Nazis. The sculpture has a postmodernist style, with bold and bold imagery.

除了具(jù)有(yǒu)美學(xué)價值與民(mín)族意識的蘇聯雕塑外，蘇聯還将列甯像布滿了蘇東國(guó)家的大地。這些列甯像沒有(yǒu)什麽太多(duō)的藝術價值，隻是是蘇聯的象征，因此各個國(guó)家對待列甯像的态度也折射了其對蘇聯那段曆史的态度。

In addition to Soviet sculptures with aesthetic value and national consciousness, the Soviet Union also covered the land of Lenin with statues of the Soviet Union and Eastern Europe. These statues of Lenin do not have much artistic value, but are symbols of the Soviet Union, so the attitude of various countries towards Lenin statues also reflects their attitude towards the history of the Soviet Union.

俄羅斯的列甯像作(zuò)為(wèi)蘇聯曆史的見證被大多(duō)保留。在俄羅斯西伯利亞地區(qū)的荒僻小(xiǎo)城烏蘭烏德(dé)，有(yǒu)一尊世界上最大的列甯頭像，高達7米，重42噸，看起來古怪且突兀。它如今是遊客的打卡聖地與當地的地标。這尊雕像是烏蘭烏德(dé)地方為(wèi)了讨好赫魯曉夫，在其秘密報告去斯大林化後火速建成的。

Statues of Lenin are mostly preserved as witnesses to Soviet history. In the deserted city of Ulan-Ude in Russia’s Siberian region, there is the world’s largest Lenin head, 7 meters tall and weighing 42 tons, which looks strange and abrupt. It is now a tourist mecca and a local landmark. The statue was quickly erected by the Ulan-Ude locality in order to curry favor with Khrushchev after his secret report on de-Stalinization.

1958年蘇聯科(kē)考隊員率先抵達南極“難抵極”建立了科(kē)考站，他(tā)們還将列甯像樹立在科(kē)考站的上方，面朝莫斯科(kē)的方向，使其成為(wèi)世界上最孤獨的雕像。 世事無常，石像卻永存。也許直到人類毀滅，南極的那個列甯像還會依舊存在，頑強地昭告着宇宙，20世紀的那段曆史。

Soviet expedition members were the first to arrive at Antarctica to set up a research station, and they also erected a statue of Lenin above the research station, facing the direction of Moscow, making it the loneliest statue in the world. The world is impermanent, but the stone statue lives on. Perhaps until the destruction of mankind, the image of Lenin in Antarctica will still exist, tenaciously telling the universe, the history of the 20th century.