Soviet porcelain of the late 1920s – the first half of the 1930s was an integral part of Stalin’s “propaganda for happiness” by means of artistic culture. Porcelain artists interpreted the themes of industrialization, the development of agriculture, the army and navy, “great construction projects”, northern expeditions and the industrial development of the Arctic, the Soviet East, the cultural revolution, sports in optimist manner typical for official aesthetic and propaganda discourses. Nevertheless, the porcelain of the late 1920s and the first half of the 1930s appropriated the ideas of Suprematism, Constructivism, Cubo-Futurism and Art Deco, the pictorial imitation of collage, as well as the combination of visual and verbal principles through the addition of inscriptions, inherited from propaganda porcelain. Artists often preferred generalized forms, used bright, contrasting colors, aimed to concise color (only several paints), graphic and some conventionality. Works of the late 1920s and early 1930s often corresponded with the porcelain of the first post-revolutionary years, reproducing its visual codes. It’s important to note the integration of images of modern, in particular, constructivist architecture, into thematic porcelain compositions.