The Easter egg stands as one of the most universally recognized symbols of the holiday. The tradition of Easter egg gifting by Russian royalty dates back to the early Romanov dynasty. These eggs ranged from natural varieties—chicken, swan, goose, and pigeon—to artfully crafted versions in wood, bone, stone, and precious metals. The first documented porcelain egg was gifted in 1749 by Dmitry Vinogradov – founder of the Imperial Porcelain Factory and inventor of Russian hard-paste porcelain – to Empress Elizabeth Petrovna. From that moment until 1917, the Imperial Porcelain Factory produced Easter eggs for the Tsar and royal family to distribute during the traditional Easter greeting ceremony.
As porcelain paste remained a costly and scarce material, the factory produced Easter eggs exclusively for the needs of the imperial court. Crafted from delicate porcelain, adorned with miniature paintings and gilding, these eggs served not only as lavish imperial Easter gifts but also as a unique form of state recognition – bestowed upon loyal subjects to mark anniversaries, weddings, and distinguished service.
All eggs has a vertical bore hole. A carefully colour-matched moiré ribbon was threaded through this opening, its pattern deliberately coordinated with the egg’s design. The ribbon was fastened with a bow at the base and a loop at the top for suspension. Eggs with their ribbons were hung in the ‘red corner’ beneath household icons. The ribbon-tying work was entrusted to professional ‘bow-makers’ – widows and daughters of Imperial Porcelain Factory workers in need of employment. This work was both well-compensated and functioned as a charitable enterprise.
The collection of porcelain and glass Easter eggs ranks among the most significant holdings of the Kazan Kremlin Museum-Reserve. The collection’s formation began in 2009 with the acquisition of porcelain eggs from an antique salon. Today the collection comprises 32 pieces, crafted between the 19th and early 20th centuries at the Imperial Porcelain Factory and private Russian workshops.
Easter Egg Decorated with Relief Carving Depicting Saint Nicholas the Wonderworker and the ‘Harrowing of Hell’ Scene.
Imperial Glass Factory, early 20th century.
Glass, mould-forming, carving, polishing. From the Kazan Kremlin Museum-Reserve collection.
The Imperial Glass Factory (est. 1777) ranks among Russia’s oldest industrial enterprises specializing in glassware production. In the late 19th century, the factory was incorporated into another imperial enterprise — the Porcelain Factory.
The Kazan Kremlin Museum-Reserve collection includes an egg crafted from thick-walled transparent glass with a greenish tint, decorated with intaglio relief carving depicting Saint Nicholas the Wonderworker and the scene of the ‘Resurrection of Christ – Harrowing of Hell‘.
On the reverse side is depicted Jesus Christ descending into Hell after His crucifixion. Christ tramples the gates of Hell beneath his feet. Adam, Eve, and the prophets, whom Jesus is leading out of the abyss, stand to His right and left.
Saint Nicholas is depicted wearing a mitre — the liturgical headdress of bishops — with his right hand raised in blessing and holding Sacred Scripture in his left.
Easter egg featuring Saint Demetrius of Rostov, designed after O.S. Chirikov’s original sketch. Imperial Porcelain Manufactory, St. Petersburg, 1887–1890s. Porcelain, coloured overglaze enamel, polychrome overglaze painting, gilding. From the Kazan Kremlin Museum-Reserve collection.
An egg decorated with the image of Saint Demetrius of Rostov, likely produced following designs by Osip Chirikov.
Osip (Iosif) Semyonovich Chirikov — a Russian icon painter and restorer from the village of Mstyora (Vladimir Oblast).
Saint Demetrius of Rostov — a bishop of the Russian Orthodox Church who served as Metropolitan of Rostov and Yaroslavl; a spiritual writer, preacher, and educator best known for his celebrated Lives of the Saints, which included hagiographies of Kazan’s first saints Gurias, Germanus, and Barsanuphius.
The egg depicts Saint Demetrius wearing a patterned green sakkos — the outermost hierarchal liturgical vestment — with a burgundy omophorion draped over it and a bishop’s mitre crowning his head. The saint’s right hand is raised in a gesture of blessing while his left clasps the bishop’s crozier. The inscription reads: ‘Saint Demetrius, Bishop of Rostov’. The miniature is encircled by an oval frame adorned with a gilded pattern of rosettes and crosses. On the reverse side, against a brick-red background, there is an ornamental cross.
Easter egg featuring Saint Sergius of Radonezh, designed after O.S. Chirikov’s original sketch with ornamentation based on A.S. Kaminsky’s pattern. Imperial Porcelain Manufactory, St. Petersburg, 1890s.
Porcelain, polychrome overglaze painting, gilding. From the Kazan Kremlin Museum-Reserve collection.
This egg featuring Saint Sergius of Radonezh was created following a design from O.S. Chirikov’s 1887 series ‘Paintings of Saints and Twelve Great Feasts‘, produced exclusively for decorating limited-edition porcelain Easter eggs commissioned by the imperial family.
Sergius of Radonezh — a hegumen of the Russian Church, founder of the Trinity Lavra of St. Sergius, and one of the most venerated saints in Christianity.
The porcelain egg depicts Saint Sergius of Radonezh in full figure, standing before the churches and buildings of the Trinity Lavra of St. Sergius. His right hand is raised in a gesture of blessing, while his left holds a scroll. Above his head, the inscription reads: ‘Saint Sergius of Radonezh the Wonderworker’.
On the reverse side of the egg, an ornamented Greek cross (with equal arms) frames a central depiction of the Virgin Mary, surrounded by gilded stars and decorative patterns. The design was created by Russian architect Alexander Stepanovich Kaminsky — renowned for designing the original Tretyakov Gallery building and Tretyakov Passage in Moscow.
Comparable examples of this egg are held in the collections of the State Historical Museum in Moscow and the Museum of the Imperial Porcelain Factory in St. Petersburg.
Easter egg featuring a miniature of The Transfiguration of Christ on Mount Tabor.
Imperial Porcelain Manufactory, St. Petersburg, mid-19th century.
Porcelain with overglaze coloured grounds, polychrome overglaze painting, gilding, and vermiculated gold. From the Kazan Kremlin Museum-Reserve collection.
A porcelain Easter egg depicting the Biblical Transfiguration narrative as recounted in the Gospels of Matthew, Mark, and Luke. Christ, accompanied by His three closest disciples—Peter, James, and John (depicted at the base of the egg in vibrantly coloured robes)—ascended the mountain to pray. On the mountain, Jesus was transfigured before them — His face shining like the sun, and His garments becoming white as light. The prophets Moses and Elijah appeared—depicted on the egg to Jesus’ right and left, robed in the same radiant white garments as Christ.
On the reverse side of the egg, the composition centres on the Cross upon which Christ was crucified. To the left of the Cross are stone tablets — the slabs inscribed with the Ten Commandments, symbolising the Old Covenant. To the right of the Cross is a book — the Gospels, representing the New Covenant. Thus, the Cross stands as the bridge between the two Covenants — between God and mankind.
Easter egg depicting the Four Evangelists
Imperial Porcelain Manufactory, St. Petersburg, 1851–1900s.
Porcelain, polychrome overglaze painting, gilding, chasing. From the Kazan Kremlin Museum-Reserve collection.
Easter egg depicting the Four Evangelists — the apostles who authored the canonical Gospels: Matthew, Mark, Luke, and John. Flanking them are depicted the tetramorphs — symbolic creatures representing each Evangelist.
Matthew is depicted with the Angel. His book displays the opening of the Gospel of Matthew: ‘The Book of the Genealogy of Jesus Christ’.
Mark is depicted with a lion. In its paws a book rests with the opening of the Gospel of Mark: ‘The Beginning of the Gospel of Jesus Christ, the Son of God’.
Luke is depicted with an ox. This book displays the opening of the Gospel of Luke: “For as much as many have taken…”
John is depicted with an eagle. This book displays the opening of the Gospel of John: “In the beginning was the Word, and the Word was…”
Easter egg featuring a panoramic view of the Alexander Nevsky Novo-Tikhvinsky Monastery in Yekaterinburg.
Imperial Porcelain Manufactory, St. Petersburg, late 19th to early 20th century.
Porcelain, overglaze painting, gilding. From the Kazan Kremlin Museum-Reserve collection.
The obverse side of the egg features a panoramic depiction of the Alexander Nevsky Novo-Tikhvinsky Monastery — a women’s Orthodox monastery in Yekaterinburg and one of Russia’s largest monastic complexes. The monastery traces its history to the late 18th century.
The reverse side depicts a chalice — the sacred vessel used in Christian liturgy, wherein during the Orthodox Divine Liturgy, bread and wine are consecrated as the body and blood of Christ.
The chalice appears to rise from an anchor — a common Christian symbol of hope and steadfastness. The anchor symbolizes Christ, offering safety and salvation amidst life’s tempestuous seas.
Easter egg adorned with a rose bouquet, designed after a sketch by K.N. Krasovsky.
Imperial Porcelain Manufactory, St. Petersburg, mid-19th century. Porcelain, overglaze painting, gilding. From the Kazan Kremlin Museum-Reserve collection.
Constantine Nikolaevich Krasovsky – a master artist at the Imperial Porcelain Manufactory. He was the best pupil of Pierre Boudet, the French artist invited to the Manufactory — a virtuoso master of painting fruits, flowers, insects, and ornamental designs. In 1864, the Imperial Academy of Arts awarded him the title of ‘Free Artist’ in the specialized field of porcelain painting depicting flowers and fruit.
This is likely one of the eggs painted after Constantine Krasovsky’s designs in vibrant cobalt blue. One side features a polychrome floral bouquet, while the reverse displays a reserved panel with gilded flowers and leaves, framed by rocaille ornamentation.
Популярность фарфоровых яиц Императорского завода была невероятно велика, но выпускались они в ограниченном количестве. С увеличением количества заказов на эти предметы изготовление наиболее простых с орнаментами и «цветочной живописью» стали передавать на частные заводы, которые стали производить более демократичные аналоги, копируя императорскую продукцию. По своему качеству такие яйца были близки к продукции Императорского фарфорового завода, однако мало кому удавалось достичь уровня мастерства императорских миниатюристов.
