Exhibition "Garden of Eden in Russian Art of the 17th - early 20th century" - report. Exhibition of Russian tiles of the 16th-19th centuries. at the A. Rublev Museum Exhibition of tiles

Chapter 7. Exhibition "Moscow tile" in Izmailovo

The exhibition "Moscow tile" has its own history. In the 1930s Moscow tiles were widely represented on the created P.D. Baranovsky in the Kolomenskoye Museum exhibition "Technique and art of construction in the Muscovite state of the XVI-XVII centuries." In 1980, the exhibition "Moscow Architectural Ceramics" was opened in the museum in Sytny Dvor. The last exposition "Moscow tile", created in 1996, until 2007 remained the only exposition in Moscow, representing in its entirety the history of Moscow tile production. Thus, addressing this topic is traditional for the museum.

The unique collection of building ceramics, which the Moscow State United Museum-Reserve possesses, is rightfully considered one of the best in Russia. It has about 14,000 items and represents the whole variety of building ceramic products: bricks, tiles, pipes, golosnikov, floor and wall tiles, but the most significant part of it is tiles.

The exhibition will show the centuries-old history of Moscow tiles from its inception to the present day, as well as demonstrate the technical and artistic level of the art of Moscow masters, emphasize the "man-made" of tile art.

Holding an exhibition in Izmailovo is not accidental. It is here that the Pokrovsky Cathedral and the Mostovaya Tower are located - outstanding monuments of the 17th century with tiled decoration. The works of contemporary ceramists, experts in the field of restoration of facade ceramics, presented at the exhibition, also allow us to touch upon the topic of preserving the tiled decor of Moscow that has survived to this day.

Choreographers - choreographers of the XX century (Russia). Kosyan Goleizovsky (1892–1970)

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Synopsis of Stanislavsky's book "My life in art"

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Conceptual and artistic foundations of Russian abstract art on the example of V. Kandinsky's work

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Museums of the city of Labinsk and their cultural and educational activities

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Musical and noise design of the performance Scarlet Sails at the musical theater "Monoton"

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Garden of valuable art. Tiles of the 16th - early 19th centuries

The manufacture of tiles, which came to Russia from of Eastern Europe in the 16th century (they called it "valuable work") - the process is laborious. One carver is not enough here - we also need potters with masons who know how to burn bricks. Nevertheless, tiles in Russia fell in love, they began to decorate the facades and interiors of churches, and from the Petrine era and stoves. First, in the 16th century, these were ant tiles (coated with green glaze - “ant”), and then the carvers gave free rein to their imagination - here are ornaments, flower garlands with birds, and battle scenes. For the exhibition, 44 exhibits were selected - it seems not so much, but they give a complete picture of the development of the “valuable business” in Russia from its inception to its heyday in the next century under Patriarch Nikon and to the manufactory already put on the conveyor at the beginning of the 19th century . All samples in the exhibition are from the collection of the museum, as well as from private collections. The exhibition was also accompanied by a catalog with a detailed history of the “valuable business” and the samples presented, most of which have an exact origin.

Art and the City: Graffiti in the Age of the Internet

Graffiti, which originated in the 1970s as part of the street subculture, has recently become the subject of exhibitions not only in galleries, but also in museum spaces. The exhibition titled "Art and the City: Graffiti in the Age of the Internet" in the Moscow gallery "Electromuseum in Rostokino" is dedicated to how graffiti has evolved in the era of "numbers", ceasing to be not only purely street art, but also anonymous. Now they are equal participants in contemporary art, with all its pluses and minuses. This is how the curator of the exhibition, artist Igor Ponosov, sees the current situation with graffiti: “New technologies are becoming so accessible that graffiti artists are beginning to be used along with the spray can. Attempts are being made to create works using robots, drones and other special equipment. Ultimately, modern graffiti is transformed into practices that are increasingly similar to hacking. Is it really? You can draw your own conclusions by visiting the exhibition, where, in addition to fresh works prepared specifically for the project, photos and videos of the most iconic graffiti from different years are shown for comparison.


Sailor, artist, man. Vladimir Golitsyn


Vladimir Golitsyn (1902-1943) - an artist who created his own unique style, combining laconism propaganda poster and handicraft traditions. He studied with such different, but wonderful masters as the jack of diamonds Pyotr Konchalovsky and Konstantin Yuon, attended the courses of Vkhutemas. Golitsyn worked a lot on commission, mainly for the Central Handicraft Museum of Moscow, founded in the early 20th century thanks to the philanthropist Sergei Morozov and existed until the 1930s. Golitsyn's wooden caskets with paintings even received a gold medal at the International Exhibition of Decorative Arts in Paris in 1925. At the exhibition you can see almost the entire legacy of Golitsyn, which is stored both in the VMDPNI, the successor of the Handicraft Museum, and in other collections. In addition to applied works, these are illustrations for children's books and magazines, sketches from expeditions to the Kola Peninsula and Novaya Zemlya, a family archive, items provided by the artist's grandson Ivan Illarionovich Golitsyn, as well as documents about the numerous arrests of Vladimir Golitsyn because of his noble origin.

Visitors to the exhibition of tiles of the 15th-19th centuries, which will open on April 27 at the Sergiev Posad Museum-Reserve in the Moscow region, will be able to see more than 350 unique exhibits, among which are both elements of ancient church decor and works by famous artists of the century before last, the press said. services of the Trinity-Sergius Lavra.

“The Sergiev Posad State Historical and Art Museum-Reserve will open on April 27, 2018 Exhibition of tiles of the 15th-19th centuries "From sample to tile". In the East building Museum complex "Horse Yard" more than 350 unique exhibits will be presented to the audience,” the message says.

The exhibits were provided by the Moscow United Art Historical-Architectural and Natural-Landscape State historical museum, State Historical, Artistic and Literary Museum-Reserve "Abramtsevo" , State Research Museum of Architecture named after A.V. Shchusev and the museum and exhibition complex of the Moscow region “New Jerusalem.

The exhibition will acquaint visitors with the development of tiling in Russia from the 15th to the 21st century. At the exhibition you will see many creations created in Trinity Sergius Monastery and decorating temples cloisters, in particular, one of the earliest finds: a rare fragment of terracotta relief tiles and a decorative baluster Spiritual Church of the 15th century, as well as exhibits of the decor of the Vvedenskaya Church of the 16th century. No less interesting are the etched (green) tiles of the 17th century from the decor of the Church of the Monks Zosima and Savvaty of Solovetsky.

The audience will also see the reconstruction of two old ovens from Sergiev Posad and tiles made by famous masters Jan Flegner in the 18th century and Mikhail Vrubel in the 19th century. In addition to tiles, the exhibition will feature graphic works by such famous masters as Vrubel, E. Polenova, V. Hartman, S. Miloradovich.

“The exhibition will be of interest not only to a narrow circle of art experts, but also to the general public, as it will allow the mass audience to get in touch with the “witnesses of living history” - old tiles,” the message says.

More related posts

Context help

— Spiritual Church (1476)
Located to the east of the Trinity Cathedral, the Church of the Descent of the Holy Spirit (Spiritual Church), closes the southeastern corner of the cathedral square, organically included in the architectural...

— Historical and architectural complex "Horse Yard"
"Horse Yard" is an exposition and exhibition and cultural and leisure complex of the Sergiev Posad State Historical and Art Museum-Reserve, which includes ...

— All exhibitions in Sergiev Posad region
Information about exhibitions in the city and the region, both passing and preparing for the opening. Posters of museums, galleries and exhibition halls.

— Profession oven maker
I have always been fascinated by people who can create something with their own hands. On the pages of our project, we often publish reviews about companies in the Sergiev Posad region, but about people who are masters...

— Temples and churches
In addition to the Trinity-Sergius Lavra, there are a huge number of temples, chapels and churches in Sergiyev Posad and the region. Here you can see photos, learn the history, features of architecture, interesting historical facts about the temples and churches of the city and the Sergiev Posad region.

— Trinity Sergius Lavra
Over the centuries, on the territory of the Holy Trinity Sergius Lavra, a unique ensemble of multi-temporal buildings has developed, including more than fifty buildings and structures.

In the southwestern part of the monastery is the white-stone Trinity Cathedral (1422-1423), erected on the site of the first wooden church of the XIV century. It was around him that the formation of the monastery ensemble took place. To the east of the cathedral in 1476, Pskov craftsmen erected a brick belfry church in the name of the Descent of the Holy Spirit upon the Apostles.

— Sergiev Posad and its region is a region with a rich history. The history of Sergiev Posad has almost seven centuries of eventful life. The Trinity-Sergius Monastery was founded in 1337 by St. Sergius of Radonezh. In the XIV - early XV centuries. several settlements arose around the monastery (Kukuevo, Panino, Klementyevo, etc.), united in 1782 by decree of Catherine II into a city called Sergiev Posad. From 1930 to 1991 Sergiev Posad was called Zagorsk, in memory of the deceased secretary of the Moscow Committee of the Party .M. Zagorsky, then the historical name was returned to the city.

— Abramtsevo Museum-Reserve
For the first time Abramtsevo (then Obramovo) was mentioned in 1504 in the charter of Ivan III. The village got its name because of the terrain: frame (from the word frame).

At the beginning of July 2017, the Andrei Rublev Central Museum of Ancient Russian Culture and Art opened the exhibition “Garden of valuable art. Tiles of the 16th - early 19th centuries from the collection of the Andrei Rublev Museum and private collections ”, dedicated to Russian tiles of the 16th-19th centuries, which presents exhibits that have recently entered the museum collection, as well as owned by private collectors.

Making tiles (" valuable business”) has become widespread in Russian art since the 16th century. Initially, these were small ceramic tiles designed to decorate the facades of buildings and did not have coloring. In the first half of the 17th century, “etched” tiles covered with green glaze appeared. Common subjects for tiles of the 17th century are images of horsemen, battle scenes, birds, garlands of fruits and flowers, decorative cartouches and other Western European ornamental motifs.

On March 25, 2016, the grand opening of the interregional exhibition "Stove, embossed and painted samples" took place in the museum complex "Horse Yard".


This is the first exhibition in Sergiev Posad dedicated to tiles. A lot of people who are interested in this kind of art gathered in the exhibition hall of the Eastern building that day. Over the 95-year history of the museum, a large collection of architectural and stove tiles has been collected, including the earliest finds - tiles of the 15th century that adorned the Dukhovskaya Church, the rarest relief terracotta and etched (green) tiles of the 17th century, made in the Trinity-Sergius Monastery , rare architectural tiles that adorned the churches of the Trinity Monastery, Moscow, estates near Moscow. There are tiles with plot compositions, including those dedicated to the military theme, as well as bright painted ones, decorated with flower bouquets and garlands, created at the famous enterprises of M. S. Kuznetsov. Along with the ancient ones, there are modern tiles, made today for the restoration of architectural monuments of the Trinity-Sergius Lavra and Moscow, made in the ceramic workshop of the Lavra.


Deputy CEO Sergiev Posad
historical and art museum-reserve,
Candidate of Historical Sciences Svetlana Viktorovna Nikolaeva

The Sergiev Posad Museum selected 300 exhibits from its own funds. The exposition was supplemented by other museums and the Institute of Archeology, with which the museum workers carried out joint excavations. Items from the MDA and the Trinity-Sergius Lavra are presented. Colleagues from the Moscow Kolomenskoye Museum, which is famous for its collection of tiles, responded to the invitation of the Sergiev Posad Museum-Reserve. Items from the funds of regional museums are presented - the museum complex New Jerusalem, in which a center for the production of tiles was created in previous centuries. A collection from the Zaraisk Museum, relating to the estate collections, was brought. The Alexander Art Museum participates in the exhibition with its exhibits. And the ceramic workshop of the Lavra agreed to show how tiles are made. Private collectors did not stand aside either.


Vitaly Vladimirovich Shcherbakov,
senior researcher of the archaeological department of the museum,
curator of the exhibition

“The preparatory stage was quite large - several months,” explained Vitaly Vladimirovich Shcherbakov, senior researcher of the archaeological department, curator of the exhibition - perhaps in the future a book will be published and it will include all the footage on this topic. At the exhibition, we wanted to show the variety of tiles from the most ancient to the present day, using the example of the tiles from the estate of the princes Golitsyn, preserved in Sergiev Posad on Vifanskaya Street. This is the only surviving estate in the Moscow region, built in 1823. The exhibition presents unique tiles with images of saints handmade by master Jan Flegner, a Swede who was taken prisoner by us during the Great Northern War. He began working in the New Jerusalem Monastery and was one of the first to create painted tiles in Russia. Red tiles and emblems are associated with his name. It turns out that tiles from the 18th century can also be attributed to the first comics. This discovery was made by scientists, having seen a painted inscription of flying letters at the level of the mouth of a little man on one of the tiles. That's how modern comics are drawn."

On Sergiev Posad land, tiles are first found on the territory of the Trinity-Sergius Lavra - on the facade of the Spiritual Church (XV century) and the altar belt of the Vvedensky Church (XVI century), as well as elements of red-clay decor. There are tiles on the church of Zosima and Savvaty of Solovetsky (1635-1637) - ant (green) with floral ornaments, double-headed eagles, warriors and cannons. Ancient tiled panels from Pskov are presented for the exhibition by the CAC MDA. The hall presents polychrome etched tiles of Moscow production (1670-1680), which are the only material evidence of the existence of the royal palace in the village of Slotino, which stood on the road to Aleksandrovskaya Sloboda, where similar samples were also made. At the end of the 17th century, the ovens of the Trinity Monastery were built from polychrome relief tiles. In the monastery there is one of the most ancient furnaces of the beginning of the 18th century with the image of medallions with paintings in the Church of the Nativity of John the Baptist. A similar stove has been preserved in Alexandrov. Unique stoves of the 18th century with painted tiles are located in the Metropolitan's chambers and the Royal Palaces of the Lavra. Facade tiles from these cultural monuments are also presented at the exhibition. In addition to samples of the Trinity-Sergius Lavra, the exhibition exhibits works by Moscow masters stored in the museum-reserve in Kolomenskoye. They were on the monuments of Moscow and Kostroma. The decoration of the exhibition is a platband with decor from the Paraskeva Pyatnitsa Church, standing in Okhotny Ryad in Moscow (1687). Tiles of manor stoves are represented by exhibits stored in the Zaraisk Museum. These are multi-colored tiles from the Goncharovs' estate that has not survived (the village of Ilyitsino, Zaraisk district), as well as simpler ones, typical for many house stoves from the estate of the Golitsyn princes in Sergiev Posad.


Professor Leonid Andreevich Belyaev

Currently, interest in this craft is reviving. Doctor of Historical Sciences, Chief Editor journal "Russian Archeology", head of the New Jerusalem expedition of the Institute of Archeology, Professor Leonid Andreevich Belyaev highly appreciated the exposition presented at the exhibition:

To be honest, there are no such tiles anywhere in the world. We not only adopted this craft from other peoples and produced it in Russia. We came up with it and implemented it ourselves. The tile is our national pride. We brought to this exhibition the materials that the New Jerusalem gave. This monastery is now being restored, and in the process of restoration we have found a huge number of exhibits. We ourselves did not imagine to what extent we would be interested. For six years, our specialists have been working all 12 months a year and even 24 hours a day, staying together with builders, architects and everyone else at the facilities. The employees of the scientific expedition do not go on vacation for the winter months, as is customary in archeology, but continue to work, studying the laboratory in which the Russian tile was born. And the results have been fantastic! We present here only a small part of these findings. And they allow us to conclude that our Russian tile lived for a very long time - the entire second half of the 16th century in different parts of the country - in Kazan, in Sviyazhsk, in Yaroslavl, in Siberia ... He lived in the 19th and 20th centuries before Vrubel. There are many testimonies of this in the New Jerusalem. He hasn't died yet. We are interested in its origins. The Trinity-Sergius Lavra is also a very important place in the study of tiles. There are terracotta slabs in the Lavra, they may be more interesting than the tiles from the 17th-18th centuries. They are studied closely, on purpose, very seriously. Terracotta slabs are the earliest stage of a tile, it's not even quite a tile yet. These plates make it clear that Lavra stands at the origins of this ancient craft, which has become art.

No less discovery was made and Olga Nikolaevna Glazunova- Member of the expedition to New Jerusalem. Being engaged in tiles, she began to understand church history more deeply:

In this collection there are very interesting tiles that provide an opportunity to better understand church history. These are, first of all, two tiles depicting a man and a crab on a water lily. There is a tile with the symbol of the Easter holiday and with the image of the patronal feast. Such things stood in the monastery. They have very deep meaning You understand this when you start studying them.

Several years ago, together with Vitaly Shcherbakov, Olga Nikolaevna Glazunova studied the tiles that were made in the Lavra and used as pillows for the headboard at the burial of deceased priests. There was such a tradition in the Sergius Monastery. Usually a brick was placed under the head of the clergy, but in the Lavra they began to make special tiles. And for this, masters were invited from New Jerusalem, because under Patriarch Nikon in New Jerusalem this craft was already practiced. This fact was found out by specialists during the preparation of this exhibition. To establish production, craftsmen from different places were gathered in New Jerusalem - from Moscow, from Lithuania, from the north of Europe, from the south of Europe, from the Trinity-Sergius Lavra. A huge number of craftsmen brewed in this cauldron, and they were able to create a new phenomenon unlike anything else - Russian tiles.

“The exhibition is very good, there has never been such an exhibition,” says Olga Nikolaevna. - But I would also add items that represent the technology of making tiles. There is modern technologies. I would show old technology. We also have them: bowls for glazing, and tile dividers, tile stamps to clearly show the peculiar production history of the tile. She changed over the years. If you compare things of the same use in the 17th and 18th centuries, you will see that they are made in different ways. In the 17th century, there were so-called kindlers of the forge flame - large clay pots with holes, which were replaced with caps in the 18th century. These things help to imagine how production has changed.”


Curator of the Tiles Fund of the Kolomenskoye Museum
Svetlana Izmailovna Baranova

Curator of the Tiles Fund of the Kolomenskoye Museum, Doctor of Historical Sciences, Candidate of Art History, Associate Professor of the Theology Department of Moscow State University Svetlana Izmailovna Baranova– one of those specialist colleagues who helped prepare the exhibition by providing their materials:

The archaeological expedition, which works on the territory of the New Jerusalem Monastery, does not exhibit its collection yet, but it generously shows you its findings in this hall. In our museum, we even removed the architraves from the walls of the exposition and brought them to you. This is a genuine and restored architraves from the drum of the church of St. Paraskeva Pyatnitsa, which stood in Okhotny Ryad. At this place, where the church stood, is now the State Duma. Moscow lost a lot in 1928, not only this church, the palace of Vasily Vasilyevich Golitsyn also disappeared. Long-lasting tiles remained as a reminder of the past. Interest in them is growing all over the world. We haven't gone anywhere before. And recently they visited the Louvre with their collection, and this museum selected tiles for itself. We are going to Dusseldorf, where there will be a special exhibition dedicated to Russian tiles. We are involved in difficult, complex projects and welcome any invitation.

Svetlana Izmailovna, why is this exhibition important to you? What would you like to say to people who come to look at its exhibits?

The importance of this exhibition lies in the fact that on this small square the tile is presented from a variety of angles. There are tiles in archaeological rough gluing, which clearly shows the state in which the object was found. Major architectural objects, showing the history of the creation of tiled decor. We also see remakes - an attempt by modern masters to turn to the traditions of the past. I would like the exhibition to stimulate the desire to collect tiles. This process is very affordable. We sometimes just trample on a tile with our feet. And now it is already clear that he is disappearing. Therefore, it is important to change the attitude towards him now. The exhibition does it. Thanks to its qualities - the durability of the glaze, the strength of the shard, the ability of Russian craftsmen to make these outstanding works that endure centuries - it has come down to us with all its brilliance, with all its ornament, and still pleases. Therefore, I ask everyone: collect tiles, bring them to museums, replenish our funds. Especially if you know where this piece was found. Location is very important to us. For a very long time, a tile was perceived as something too simple compared, for example, with porcelain, crystal. They were often found on the ground, even under a plow. There was such a case in my life. Walking once around the city of Yaroslavl, which is famous for its tiled decorations, I saw a whitening piece in the dark under a lantern. Raised. It turned out that this is a plot tile, on which the inscription: "This is for our benefit." The obvious benefit of such research exhibitions is that they give an idea of ​​the tiles as an indispensable part of Russian life and almost force us to collect them, store and study them.

What can a stove tile tell a specialist about? appearance? And can a tile fit into our modern life to become popular in the 21st century?

A tile to a close look can tell a lot. Through a tile, we can reconstruct a house, we can tell exactly what stoves were in it. By these stoves, we can judge the condition of this house, the wealth of the owner, his tastes, his capabilities and, in general, about history. We can talk about how these furnaces have changed. They understood, they had their own fashion. Sometimes a small pile of potsherds, which at first glance seems like garbage, can be a witness to the stove story and tell the whole story of the house, even when this house has already ceased to exist. It is not for nothing that the fashion for ceramic stoves has recently reappeared. And the Russian tile became in demand. The houses are again decorated with special inserts, ceramic panels. Our workshops, especially in the northern regions, where a stove is needed for heating, are simply overwhelmed with orders. Despite the fact that this pleasure is expensive, people go for it, they see the beauty of a tiled stove and its comfort.

- What is the comfort of a tiled stove?

First, it is hygienic, it can be washed. Second, it's safe. Smoke does not pass through its pores and the bricks do not darken. Third, aesthetic. There is nothing to say about her beauty! Workshops now make stove sets, and then the stoves are built according to the dimensions of this tiled set. Of course, all orders are individual, author's, original. Often, customers ask to destroy the forms according to which their tiles were made, so that there are no repetitions, so that it does not turn out that a neighbor has the same stove as his. These requirements for masters have existed before, in all ages ...

Doctor of Historical Sciences, Editor-in-Chief of the Russian Archeology Journal, Head of the New Jerusalem Expedition of the Institute of Archeology, Professor Leonid Andreevich Belyaev summed up what was said in the presentation:

Perhaps the main element of the material culture of the Moscow state was the tile. We are not fully aware of this. But if we take the Russian culture of the 19th century, the pre-Petrine era, then everything Russian at that time was perceived with some suspicion, as some kind of wrong, hardened, wretched, not meeting the European standard of that time. When they began to determine their national path, the tile came to the fore as an element national culture. He entered the chamber of the Romanovs, the Terem Palace. In this form, he reached modernity, however, in small quantities and survived until Soviet times. Not in every Russian museum you will see these unique exhibits. Moreover, they were found by the expedition, taken from burials, from the earth layers. In this exhibition, along with the originals, there are also copies. And this is also a very important thing. After the collapse of the Resurrection Cathedral in New Jerusalem, the tiles were restored. Trained European masters made Russian copies. It was actually the first restoration in Russia and at the same time it is a tradition. The pattern is always up to date. We must remember that the understanding of ancient Russian life in modern Russia began with tiles. In Europe, Russia was represented by a tile, which at that time corresponded to the level of culture of many continents.


Senior researcher of the department
history and culture of the Sergiev Posad region
Nina Viktorovna Kholodkova

Are you satisfied with the first day of the exhibition? We asked this question to one of the creators of the exhibition Nina Viktorovna Kholodkova- senior researcher Department of History and Culture of the Sergiev Posad Territory:

We are glad that everyone responded to our invitation. Guest reviews are positive. The interest of the audience is genuine. Few people paid attention to the tiles before. And they are so different, so many stories. Even take the birds - not a single one is repeated, and they are all touching and individual! Thanks to the work of several generations of museum staff, we have a collection that we have been able to present today not only to specialists, but also to those who love beauty.

Wednesday, Thursday, Saturday, Sunday - from 10.00 to 17.45

Friday - from 10.00 to 16.45

2nd Wednesday of each month - from 11.00 to 19.45

Weekend: Monday, Tuesday and last Friday of the month.


 

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