- perhaps the largest Russian company that specializes in naturally aged building materials. She started with the supply of historical bricks for interior projects. The unique material of the 18th-19th centuries is rescued from the destroyed old houses, estates and manufactories, which perish from time to time and are actively destroyed by the authorities.
For those who are not going to build, but would like to imitate antique brickwork, they offer finishing tiles. In this case, historical brick is cut into plates. Just such a tile was laid out on the wall in the KV project.
In addition to the brick at the "Brothers of the Germans" you can order authentic glass blocks from the 60s and 70s, windows, doors, boards and beams from old wood, as well as ancient radiators and even a century-old cast-iron floor.
barn board
Ebony&Co- Toompa nia, where can i buy not just a barn board for interior projects, but also products from it: floor boards and parquet, wall panels, cladding for houses and terraces. There are dozens of finishes and textures to choose from. The material is supplied not just from North America, but literally from the Middle Ages: the age of such a board is about 400 years.
Viewers of our programs this material is well known. Designers of "Alteration" quite often use a barn board, both for historical allusions, as was done in projects, and for the decor of quite modern interiors - let's remember
Tiles - ceramic (clay) tiles of a special box-shaped form, a type of tile designed for cladding walls, stoves, fireplaces, building facades, etc.
Tiled art and architectural ceramics have existed in Russia for more than ten centuries. The earliest Russian tiles date back to the 10th century. The 17th century was the peak of tiled art in Russia.
Early stoves were decorated with terracotta and glazed tiles, often the stove was assembled from self-supporting tiles, and eventually the concept of “tiled stove” appeared, suggesting that tiles are the main building material of such a stove.
Many multi-colored and glazed tiles adorned Russian stoves. The Moscow Kremlin has a large collection of Russian tiled stoves. Very interesting tiled stoves are installed in the Novodevichy Convent, in the Trinity-Sergius Lavra.
In general, many of them have survived in varying degrees of preservation, largely due to the selfless devotion of museum staff and restorers.
One of the most large collections of Russian tiled stoves is located in Kolomenskoye, where the restorers of MGOMZ carried out very high-quality reconstructions. These stoves have become a symbol and a colorful monument of Boyar Rus' - an era that perished in the time of Peter the Great.
The Russian stove underwent cardinal changes at the beginning of the 18th century with the decree of Peter the Great, which prohibited the construction of kurny (stoked "black") fire-hazardous stoves, which was very timely, since fires caused great damage.
At the same time, the first regulation was issued for the construction of stoves in residential buildings and the industrial production of bricks, tiles and other stove elements.
In the same period, at the behest of Peter, the production of new “Dutch” tiles for Russia was launched - white “tiles” with cobalt painting. Peter's order sounded: "immediately make smooth white stove tiles in the Swedish manner, and blue grass over them."
Tiles - a native Russian word, derived from the ancient "sample" - until the end of the 17th century, this was the name for ceramic decorations for the outer walls of temples, palaces and lining of stoves in the main chambers. The art of architectural ceramics itself has a long history, its roots go back to the times ancient egypt, Assyria and Babylonia. The wide distribution of ceramic tiles in the architecture of different countries could not bypass Rus'. However, Russian masters used tiles in their own way to decorate the exterior and interior of the building, which made this type of art unique and unrepeatable. Tiled decors were an integral part architectural solution buildings, tiled stoves played an important role in decorating the interiors of temples, palaces, princely and boyar towers.
The origins of Russian tile art should be sought in ancient Kyiv of the 10th-11th centuries, Ryazan and Vladimir of the 12th century. During archaeological sites in these cities, the first Russian ceramic products covered with transparent multi-colored glazes were found.
Almost simultaneously in Rus' in the 17th century, several types of different designs of tiles developed in parallel. These are the so-called terracotta, which were made from red varieties of clay, etched (tiles covered with green lead glaze) and colored, covered with various types of colored glaze, mainly turquoise, yellow, green and white.
In the 18th century, Peter I brought to Russia the famous "Dutch" tiles painted with cobalt on white enamel, which for many decades became trendsetters in tiled stove fashion.
A magnificent fireplace in the Bishop's House in Krasnoyarsk was decorated with German tiles, which was later destroyed. These few photographs are practically all that remains of this fireplace, and in many ways it was them that I used when creating my first tiles.
For the production of stove tiles, wooden molds were used, the rumpa (leg) of the tile was made either by hand or using a potter's wheel.
Incidentally, the rump is one of the biggest and most important "secrets" of the tile. Indeed, it is thanks to the presence of the rump that the tile is not just glued to the surface of the stove or fireplace, but is mounted with wire during the installation of the product, which undoubtedly increases the reliability of fastening - this not tile adhesive that can fall off.Look at the Dutch women in the Hermitage or the fireplaces decorating the Menshikov Palace - some of them are centuries old!
In addition, the tiller, hollow inside, becomes a wonderful source of long-term heat. During the combustion of the furnace, the air inside the tiller heats up, and then evenly gives off heat to the room for several hours. The temperature in these voids reaches 100 ° C, which, however, does not affect either the brick or the tile at all. Stable heat transfer of lined stoves and fireplaces, which is much higher than that of brick ones, lasts for several tens (or even hundreds) of years.
The environmental friendliness of the tiles also plays a significant role. Tiles due to shrinkage do not have microcracks, and furnace gases do not escape into the room. The installation method developed hundreds of years ago also contributes to this.
Today, tiles are also made by hand, but the molding is no longer in wooden, but in plaster molds. About how a model of a tile is developed, and then the tiles themselves are made - in the next master class.
In preparing this master class, materials from the book by S.A. Maslikh "Russian tile art of the XV-XIX centuries"
Russian sayings and proverbs are full of references to the stove, and in what context: “Dance from the stove”, “The peasant is quick-witted - he put a hut on the stove”, “It is good speech that there is a stove in the hut”, “in October, say goodbye to the sun, closer to get close to the stove”, “it’s cold without a stove, hungry without bread”. The stove not only heated, cooked on it, washed in it, treated and loved on it - it was the center of the house and its keeper. This, however, is not surprising, since the climate of Russia has never been mild and the presence of a good warm stove was the key to the survival of the family in harsh winters. Furnaces were worshiped and given a sacred meaning to it, as a conductor of fire - the main pagan deity of the Russians. Often she was humanized, endowed with the ability to talk, as, for example, in folk tale“Geese-Swans” and in later times, in particular, in a completely modern cartoon “Vovka in the Far Far Away Kingdom”. The people said about the oven: "The stove feeds, the stove warms, the stove is mother."
The device of the Russian stove assumed not only a hearth for cooking, but also a stove bench to sleep in warmth. This is the main difference between Russian stoves from European and Mediterranean ones. The European stove was primarily a part of the heating system and an element of the decor of the room. Mediterranean ovens were used mainly for cooking. But, the Russian stove was “many in one”: a stove, a bedroom, a heater, a bathhouse, a decorative element and the main home of the household deity and patron of the family - brownie. Incomplete analogues of the Russian stove are only in Scandinavia, where the climate is similar to the Russian one, therefore the traditional way of life was similar.
From the 8th to the 13th centuries, stove-stones made of large stones without the use of a bonding mortar prevailed in Northern Rus'. The stones were so well matched that they adjoined hermetically to each other. Such stoves were heated “on black”, which had its advantages in terms of disinfecting the home: hot smoke “roasted” the walls and ceiling in the hut, which was dried and disinfected, which was important for fighting infections and insects.
Only by the 15th century did the first chimneys appear, which by the beginning of the 17th century began to be made of refractory bricks and the whole structure acquired the form that we now call the “Russian stove”.
And as soon as the Russians put a sacred meaning in the oven, then decorations for them were given great importance. The stove, as the center of the house, or just a rather large building, needed decoration.
Many multi-colored and glazed tiles adorned Russian stoves. The Moscow Kremlin has a large collection of Russian tiled stoves. Very interesting tiled stoves are installed in the Novodevichy Convent, in the Trinity-Sergius Lavra. In general, many of them have survived in varying degrees of preservation, largely due to the selfless devotion of museum staff and restorers. One of the largest collections of Russian tiled stoves is located in Kolomenskoye, where MGOMZ restorers carried out very high-quality reconstructions. These stoves have become a symbol and a colorful monument of Boyar Rus' - an era that perished in the time of Peter the Great.
The Russian stove underwent cardinal changes at the beginning of the 18th century with the decree of Peter the Great, which forbade the construction of kurny (stoked “black”) fire-hazardous stoves, which was very timely, since the cities burned and fires caused great damage. At the same time, the first regulation was issued for the construction of stoves in residential buildings and the industrial production of bricks, tiles and other stove elements. In the same period, at the behest of Peter, the production of “Dutch” tiles, new for Russia, was launched - white “tiles” with cobalt painting. Peter's command was: “immediately make smooth white stove tiles in the Swedish manner, and blue grass over them”.
By the middle of the 18th century, Russia was producing the largest number of tiles in Europe. And by the end of the century, the scientific foundations for the design of furnaces were laid. The architects who developed the most energy-efficient designs of furnace heating systems were Nikolai Aleksandrovich Lvov with his work “Russian Pyrostatics” and Ivan Ivanovich Sviyazev with his work “Theoretical Foundations of Furnace Art”, in which he published a methodology for calculating the dimensions of chimneys and sections of gas channels. These architects theoretically substantiated the methods of designing furnace heating systems, and also invented their own original fireboxes and stoves. Professor Silviusz Boleslavovich Lukashevich published the "Course of heating and ventilation", where in the section on furnace heating he outlined the theory of calculating heating furnaces.
The production of white tiles and a change in the way smoke was removed led to transformations in the structure of city stoves. Such purely heating thick-walled stoves began to be called "Dutch", which is not entirely correct, since they first appeared in Russia, and from here they came to Europe. Be that as it may, Dutch stoves have become widespread in cities largely due to their thermal efficiency. Installed in every room of a house or apartment, interconnected by a complex system of heating mains, they have become an excellent source of heating for fairly large rooms. In particular, such stoves were installed in the Great Catherine Palace. It is worth talking about the stoves of the Great Catherine Palace separately, because, like the Moscow tiled stoves of the late 17th century, they symbolize an entire era.
The idea of creating an empire in Russia, not inferior in its influence and brilliance to the largest European empires, has always been in the air. This idea was answered by St. Petersburg, which, in addition to being a “window to Europe”, became the first fully planned “European” city in Russia. Numerous palaces erected by Peter and his descendants in St. Petersburg surpassed European ones in their splendor, and the palace and park ensembles of Peterhof are not inferior to the famous French Versailles in their beauty.
The main flourishing of the arts, caused by the luxury of the then ruling class of nobles, fell on the reign of Elizabeth Petrovna. This period of Russian art even got its name - Elizabethan Baroque. The main representative of the direction was the architect F. B. Rastrelli, by whose name the Elizabethan style itself is sometimes called - the Rastrelli baroque.
The Elizabethan Baroque, unlike the Petrine Baroque that preceded it, took into account the achievements of Russian art, preserving the traditions of Orthodox church architecture in its silhouettes. The Tsarskoye Selo and Peterhof buildings of Rastrelli became a natural result of what happened here before him. His work was completely subject to the tastes of the Empress, who loved brilliance, fun and luxury.
The era of Elizabeth became an exceptionally integral period of vivid manifestation of the ideals of the rococo. applied arts, architecture and painting reached the highest degree of craftsmanship and were applied in many palaces built and reconstructed.
“Elizaveta Petrovna updated all the buildings and brought the palace to such a degree of perfection that it could boldly compete, especially with its fountains, with Versailles and Marly.”
Mecheslav Pilsudski, 1857
Of great interest are the tiled stoves of the 18th century, of which there are many in the Catherine Palace. By the time these furnaces were erected, brick factories producing "tiles" had long been operating in Russia. At the location of the factories in Strelna there were deposits of good clay. By 1722, up to 3.5 million bricks per year were fired in Strelna kilns. At the Strelna Pottery Yard, dishes, utensils and tiles were made, poured with white enamel and painted with blue paints. The plots were all the same, Dutch - mills, ships, landscapes, canals and others. You can read more about the Delft style in our article on Dutch tiles.
Made in Dutch style tiles furnaces of the Great Catherine Palace in Tsarskoye Selo - plot pictures in white and blue tones, enclosed in ornamental picturesque frames. In this vein, the furnaces of the Cavalier's dining room, the Pantry, the Chinese living room and many other rooms of the Grand Palace are made.
In contrast to the rooms listed above, the White Dining Room is made - it has complete monochrome and matte textures. The white dining room was rebuilt in 1774 by the architect Yu. M. Felten, a supporter of classicism. The room is designed in the strict canons of classicism and its interiors have graceful round tiled stoves , Russian-made, lined with white glazed tiles with relief panels "Music" and "Painting".
Despite serious destruction during the siege of Leningrad during the Second World War, the palaces of Tsarskoe Selo and Peterhof are still a collection of outstanding works of art, as well as an eloquent witness to the feat of Soviet restorers who participated in their restoration.
The secret of making tiles with underglaze painting was lost, and post-war restorers had to revive it. The main merit in this belonged to the architect A. E. Gessen, on whose initiative the work on the manufacture of tiles was successfully implemented. Gessen solved the problem of complete restoration of tiled tiles in the interiors of the Summer Palace of Peter the Great, in Monplaisir and in Marly in Peterhof.
For quite a long time, the stove was the main source of heat in Russian houses and city apartments. Only at the end of the 19th - beginning of the 20th century, with the invention of steam heating, they began to be replaced. In fact, today heating stoves are installed only in private houses and in the absence of main gas, which allows the installation of a gas boiler and water heating. More often, a fireplace is installed in the house - for Sybarite meditation on fire and as a kind of sign of prosperity. Nevertheless, there is a demand for stoves and it is quite stable. Often, customers are limited to an ordinary brick oven, which is due not only to its lower cost, but also to a certain taste of contemporaries with their commitment to the “chalet” style in the interior.
Moscow company, created on the basis of the restoration workshops of the Andreevsky Monastery and also having a large number of restored during restoration historical forms tiles - this is the "Ceramic Workshop of Sergey Lebedev". The works of the company "Tile stoves" in Kimry, founded by Alexander Chernyshev, are very interesting. This is a fairly large enterprise specializing, as the name implies, in the manufacture of stove tiles from chamotte.
Workshops of smaller size, but equally excellent quality in the manufacture of architectural ceramics and tiles, formed by ceramic artists are, for example, the “Yuri Osinin Architectural Ceramics Studio” in St. Petersburg, which creates works with unusually precise relief, fine painting and amazing beauty glazes.
The ArtBasle company - workshops of monumental painting and architectural ceramics - is another enterprise from St. Petersburg, owned by ceramic artists Andrei Belyaev and Larisa Zakharova. The ceramic fireplaces of these artists are very complex and extraordinarily beautiful.
Fabulously good are the works of the Lev and Sirin family workshop from Zvenigorod, formed by hereditary ceramists Kupriyanovs. This is completely author's ceramics, which has its own face, style and character.
We have listed far from all the ceramic workshops that exist in Russia, however, the works of the mentioned industries and artists attract, excite the soul and delight the eye, which allows us to put them on a par with the best works of major masters of the past.
Fragment of a smooth tile with an inscription. mid-eighteenth century.
Tiles from the collection of the Museum of the History of the Meshchansky District "Garden Ring" characterize the main types of tiled decor from the end of the 16th century to the beginning of the 20th century, and are an important source for studying the history of the life of the Moscow suburb.
Terracotta stove tiles without pouring, which received the name "red" from the color of the burnt clay, began to be made in Muscovite Rus' from the end of the 16th century. The tiles were decorated with framed reliefs with zoomorphic and anthropomorphic images, such as double-headed eagles, centaurs or battle scenes, as well as floral ornaments.
Roofing ceramic coatings have been widespread in architecture since the end of the 16th century. It was reliable and inexpensive material. Green-coloured glazed tile roofing was most common from the 1630s to the 1680s.
Since the 1630s, glazed "gritted" tiles with a transparent green glaze with plots and compositions of red tiles have appeared in Moscow.
From the second half of XVII century, the "golden age of Russian tiles" begins - tiles with opaque tin enamels of white, yellow, turquoise, blue colors and transparent brown glaze and new compositions of drawings appear. These changes were due to historical events. During the Russian-Polish war of 1654-1667, Belarusian artisans moved “to Moscow”, adhering to new decorative trends. In Moscow, there were two main centers for the production of tiles - Goncharnaya and Meshchanskaya Sloboda. The petty-bourgeois settlement arose in 1670-1671 in connection with the royal decree on the resettlement of petty bourgeois from other settlements and foreigners "from beyond the Polish-Lithuanian border."
At the beginning of the XVIII century, with the decree of Peter I, European masters arrived in Russia, and brought with them new European traditions of decorative interior ceramics. Smooth painted tiles began to be made. In architecture, polychrome ceramics were no longer used. Relief imprint in molds or with a stamp has left the manufacturing technology. A plot and a commentary to it appeared on the tiles, the main character becomes a man and his state of mind. The drawing technique was often rather simplified.
Until the 1730s, there were also “armorial” tiles, products of a transitional type from relief polychrome to smooth painted, combining relief and painting.
By the end of the 18th century, the multi-colored decor was replaced by white classical reliefs imitating marble. In the painting of mass cheaper products, the blue color begins to predominate. The lush frame is replaced by a thin border, and the plot is replaced by an image of a vase with a bouquet of flowers.
In the 19th century, almost all stoves were faced with white tiles. From the magnificent architectural decoration there is a transition to a more modest plastic decoration. In the 19th century, factory production of tiles was established. Factory marks appear on the products. In Russia in the 19th-20th centuries, tiles were made by the factories of the Association for the Production of Porcelain and Faience Products by M.S. Kuznetsov, A. Gusarev, Vlasov, Aksenov, the Ablazhenov brothers and others. You can also find products of foreign manufactures. In products of the second half - the end of the 19th century, blue painting on a white background of a simplified nature returns. Then the bouquet leaves the painting and only a blue or brown frame remains, framing the white tile. At the end of the 19th century, there was an interest in ancient Russian art and everyday life, in connection with which the facades of stoves were covered with ligature in the neo-Russian style.
At the beginning of the 20th century, refined floral ornaments of Art Nouveau can also be seen in decorative ceramics.
Having passed the path of development from relief red-clay tiles from the end of the 16th century, “etched” and embossed, covered with opaque enamels of the 17th century, smooth painted of the 18th century, smooth covered with white enamel of the 19th century, again full of riot of shapes and colors at the beginning of the 20th century, the tiles were not just a bright detail of the interior or architectural facade, but concentrated attention on themselves in such a way that the stove became an interior-forming element, and the building became an architectural dominant in the urban environment.
Annotation for the exhibition "Moscow tile" from the collection of the Museum "Garden Ring".
Painted stove tile, - 30s - 60s of the XVIII century.
Painted stove tile, second half of the 18th century.
Wall tile corner smooth painted. Second half of the 19th century.
Painted tiles - Gusarev factory. Mid 19th century.
Glazed tiles, - Kuznetsov's factory. Second half of the 19th century.
Relief wall tile. Plant "Associations for the production of porcelain and faience products M.S. Kuznetsov." Beginning of XX century. Size 21x19x4 centimeters.
