不管是從藝術(shù)，還是歷史的角度來(lái)看，蘇聯(lián)出于宣傳和紀(jì)念目的在其國(guó)內(nèi)外修建的一系列雕塑，都在規(guī)模、藝術(shù)造詣、數(shù)量等方面做到了前無(wú)古人，后無(wú)來(lái)者。蘇聯(lián)解體后，這些雕像的歸宿各不相同，又折射了其所在地的諸多現(xiàn)狀，也是頗為有趣。

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(dá)佩斯的斯大林像。

Statue of Stalin in Budapest, Hungary.

俄羅斯是世界上雕塑數(shù)量最多的國(guó)家之一，雕塑作為紀(jì)念意義和文化價(jià)值的重要載體，被俄羅斯的歷屆政權(quán)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(shí)期開始，雕塑就是俄羅斯藝術(shù)的重要組成部分。1782年，圣彼得堡樹立起了描繪彼得大帝騎馬形象的《青銅騎士》雕塑（普希金的敘事詩(shī)《青銅騎士》便是講述這尊雕像復(fù)活、帶領(lǐng)軍民反抗法國(guó)人侵略的故事），是俄羅斯的第一個(gè)紀(jì)念性雕塑，代表著俄羅斯的民族主義意識(shí)覺(jué)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(lián)建立之后，新生政權(quán)的領(lǐng)導(dǎo)人很快就認(rèn)識(shí)到了紀(jì)念性質(zhì)的雕像在宣傳戰(zhàn)線的巨大價(jià)值。1918年4月，列寧簽署了《紀(jì)念碑宣傳法令》，要求拆除廣場(chǎng)和街道上的沙皇及其奴仆的那些象征舊的剝削權(quán)力的紀(jì)念碑，同時(shí)建立新的紀(jì)念碑。法令要求，新豎立的紀(jì)念碑包括無(wú)產(chǎn)階級(jí)革命家和社會(huì)活動(dòng)家、政治家、作家和詩(shī)人、科學(xué)家和哲學(xué)家、美術(shù)家和作曲家、演員等。該法令還要求紀(jì)念碑雕塑的外觀需要民主決定，每一個(gè)紀(jì)念碑雕塑都是由數(shù)個(gè)藝術(shù)家競(jìng)爭(zhēng)投稿、當(dāng)?shù)毓窈＿x出來(lái)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(jì)念碑宣傳法令》是一個(gè)新時(shí)代的開啟，這個(gè)法令通過(guò)要求大范圍在城市、紀(jì)念地等地建造雕塑，使蘇俄、蘇聯(lián)藝術(shù)家們開始了一系列新藝術(shù)形式的探索。其中著名的有《第三國(guó)際紀(jì)念碑》（雖然并沒(méi)有也不可能在彼得格勒市中心建起），代表著先鋒藝術(shù)在蘇聯(lián)的嘗試?！豆と撕图w農(nóng)莊女莊員》，是1937年世博會(huì)中在蘇聯(lián)國(guó)家館頂豎起的雕塑，這是世界上第一個(gè)不銹鋼雕塑，也是第一個(gè)運(yùn)用建筑工程學(xué)手段建造的巨型雕塑，代表著蘇聯(lián)戰(zhàn)前的雕塑藝術(shù)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(zhàn)之后，為了紀(jì)念衛(wèi)國(guó)戰(zhàn)爭(zhēng)的勝利，蘇聯(lián)官方開始了一系列新的“英雄主義”雕塑的建造，反映了戰(zhàn)爭(zhēng)、勝利、解放等題材，形成了一種新的藝術(shù)形式：紀(jì)念藝術(shù)綜合體。這些紀(jì)念藝術(shù)綜合體規(guī)模宏大、藝術(shù)感染力強(qiáng)，具有一種史詩(shī)感。紀(jì)念藝術(shù)綜合體的開端便是《蘇軍解放柏林紀(jì)念碑》，以時(shí)間敘事呈現(xiàn)了衛(wèi)國(guó)戰(zhàn)爭(zhēng)的史詩(shī)。除了紀(jì)念藝術(shù)綜合體以外，單體雕塑也層出不窮，除了蘇聯(lián)境內(nèi)每個(gè)城鎮(zhèn)幾乎都有的斯大林、列寧等蘇聯(lián)早期領(lǐng)導(dǎo)人的雕像以外，也出現(xiàn)了一些描繪本國(guó)歷史人物的雕塑，例如1951年莫斯科的《高爾基紀(jì)念像》、1957年列寧格勒的《普希金紀(jì)念像》等等，在藝術(shù)上造詣很高。

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.

隨著蘇聯(lián)國(guó)力日益增強(qiáng)，在20世紀(jì)60至80年代，蘇聯(lián)及其衛(wèi)星國(guó)、盟國(guó)境內(nèi)涌現(xiàn)出了一批包括但不限于反映民族、國(guó)家歷史的紀(jì)念性藝術(shù)綜合體，規(guī)模體量極為驚人，是蘇聯(lián)整體國(guó)家實(shí)力的展現(xiàn)。例如《征服宇宙紀(jì)念碑》，高達(dá)102米。斯大林格勒馬耶夫崗上的《祖國(guó)母親在召喚》，高達(dá)85米，代表了紀(jì)念藝術(shù)綜合體的最高水平之一。

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(lián)的雕塑藝術(shù)既繼承了俄羅斯民族的文化藝術(shù)傳統(tǒng)，又有著官方的重視，因此才有了巨量、巨型的星羅棋布于蘇東各國(guó)的諸多蘇聯(lián)雕像。那么，在蘇聯(lián)這個(gè)國(guó)家不復(fù)存在之后，蘇聯(lián)的雕像們，現(xiàn)在怎么樣了？

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(lián)雕塑，大多都是具有相當(dāng)大的美學(xué)價(jià)值與歷史紀(jì)念意義的，因而基本上保存完好。由于這種紀(jì)念性藝術(shù)綜合體的豐富感染力，在后蘇聯(lián)時(shí)代，全世界各國(guó)都有仿照蘇聯(lián)紀(jì)念性藝術(shù)綜合體的雕塑群出現(xiàn)。

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(dú)立之后就在不停建造這類雕塑，以雕塑重現(xiàn)歷史的方式喚醒俄羅斯民族意識(shí)的認(rèn)同。例如在1995年建成的莫斯科《勝利女神紀(jì)念碑》，采用了民族敘事的方式，代表著當(dāng)代俄羅斯的民族意識(shí)復(fù)興、社會(huì)轉(zhuǎn)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.

朝鮮作為繼承了蘇聯(lián)的傳統(tǒng)的國(guó)家，不僅在其國(guó)內(nèi)建造了眾多領(lǐng)導(dǎo)人雕像，還向國(guó)外出口了許多雕塑創(chuàng)匯。朝鮮“萬(wàn)壽臺(tái)工作室”的巨型紀(jì)念性藝術(shù)綜合體雕塑，也可以算是一種蘇聯(lián)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.

而能夠喚醒民族意識(shí)的蘇聯(lián)雕塑，也被前蘇東國(guó)家完好地保留，甚至在今日已成為了本國(guó)的民族象征之一。這種雕塑當(dāng)中尤為令人印象深刻的就是幾個(gè)“祖國(guó)母親”雕塑，分別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(wàn)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，是為了慶祝格魯吉亞建國(guó)1500年而立。它不似其他紀(jì)念衛(wèi)國(guó)戰(zhàn)爭(zhēng)的雕塑巨大，只有20米高，外形簡(jiǎn)約，具有現(xiàn)代主義風(fēng)格，但是其左手執(zhí)酒碗、右手持利劍的動(dòng)作，彰顯了格魯吉亞熱情好客、追求獨(dú)立的民族精神。

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族意識(shí)，其執(zhí)利劍，怒發(fā)沖冠，神色可怖，像是亞美尼亞民族在經(jīng)歷了上千年的苦難之后怨氣的集中爆發(fā)。

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》位于基輔的市中心，烏克蘭母親河第聶伯河右岸，于1981年為了紀(jì)念衛(wèi)國(guó)戰(zhàn)爭(zhēng)當(dāng)中的基輔會(huì)戰(zhàn)而建造，也是祖國(guó)母親雕塑當(dāng)中最有名的一個(gè)。她左手持刻有蘇聯(lián)國(guó)徽的盾牌，右手持劍，神情堅(jiān)毅。雕像下方是烏克蘭愛(ài)國(guó)戰(zhàn)爭(zhēng)紀(jì)念館，擁有超過(guò)三十萬(wàn)個(gè)展品，且是11600名戰(zhàn)士與民工的衣冠冢。

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(dāng)時(shí)便引發(fā)了巨大爭(zhēng)議，被稱為“勃列日涅夫的女兒”，62米高，由鈦合金和不銹鋼制成。其國(guó)內(nèi)反對(duì)者認(rèn)為這筆巨資應(yīng)當(dāng)被用在更有價(jià)值的地方。2015年，烏克蘭議會(huì)通過(guò)決議，清除其國(guó)內(nèi)一切蘇聯(lián)標(biāo)志，但是由于《祖國(guó)母親》是戰(zhàn)爭(zhēng)紀(jì)念館而幸免，不過(guò)其盾牌上的蘇聯(lián)國(guó)徽被很多人認(rèn)為應(yīng)當(dāng)拆除。專家表示，如果拆除蘇聯(lián)國(guó)徽，將會(huì)造成雕像整體失衡傾覆，因此爭(zhēng)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(jì)念碑》，由鐵托下令建造，用來(lái)紀(jì)念南斯拉夫游擊隊(duì)對(duì)抗納粹的事跡。這尊雕塑具有后現(xiàn)代主義風(fēng)格，意象大膽又張揚(yáng)。

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.

除了具有美學(xué)價(jià)值與民族意識(shí)的蘇聯(lián)雕塑外，蘇聯(lián)還將列寧像布滿了蘇東國(guó)家的大地。這些列寧像沒(méi)有什么太多的藝術(shù)價(jià)值，只是是蘇聯(lián)的象征，因此各個(gè)國(guó)家對(duì)待列寧像的態(tài)度也折射了其對(duì)蘇聯(lián)那段歷史的態(tài)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.

俄羅斯的列寧像作為蘇聯(lián)歷史的見證被大多保留。在俄羅斯西伯利亞地區(qū)的荒僻小城烏蘭烏德，有一尊世界上最大的列寧頭像，高達(dá)7米，重42噸，看起來(lái)古怪且突兀。它如今是游客的打卡圣地與當(dāng)?shù)氐牡貥?biāo)。這尊雕像是烏蘭烏德地方為了討好赫魯曉夫，在其秘密報(bào)告去斯大林化后火速建成的。

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(lián)科考隊(duì)員率先抵達(dá)南極“難抵極”建立了科考站，他們還將列寧像樹立在科考站的上方，面朝莫斯科的方向，使其成為世界上最孤獨(dú)的雕像。?世事無(wú)常，石像卻永存。也許直到人類毀滅，南極的那個(gè)列寧像還會(huì)依舊存在，頑強(qiáng)地昭告著宇宙，20世紀(jì)的那段歷史。

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.