Lomonosov Imperial Porcelain Factory: Hand-Painted Russian Porcelain, Cobalt Blue Designs, Gold Accents

276 Years of Fine Hand-Painting Tradition

The Lomonosov Imperial Porcelain Factory is recognized worldwide for its precise and artistic hand-painted designs. Each piece is crafted with exceptional skill, often enriched with natural gold and detailed engravings. Most tableware, vases, and nearly every porcelain animal figure created here are finished with an underglaze technique. One of the most admired styles from the factory combines deep cobalt underglaze with vivid overglaze colors and gold accents, producing a striking visual effect that stands out instantly.

The factory has preserved rare techniques such as cobalt coating and underglaze landscape painting, methods that have been in use since the late 19th century. Soon, a modern casting and molding workshop equipped with advanced technology will open to expand production capabilities. The team also uses 3D modeling tools to speed up mold creation, which allows for a steady release of new designs and collections.

The success of the Lomonosov Imperial Porcelain Factory is built on the talent of its sculptors and painters. The creative team includes celebrated names in porcelain art, such as Inna Olevskaya, an Associate Member of the Russian Academy of Arts and a Distinguished Artist of Russia. Other Distinguished Artists include Tatyana Afanasieva, Nelya Petrova, and Galina Shulyak, alongside artists Tatiana Chapurgina, Sergei Sokolov, Tatiana Charina, and Nina Troitskaya. Along with these established masters, a new generation of skilled artists continues to grow the legacy of the St. Petersburg porcelain tradition.

Many pieces made here are exclusive works of applied art, crafted entirely by hand and produced as one-of-a-kind creations. The factory’s long-standing reputation for sophisticated hand-painting, its dedication to traditional methods, and its innovative use of technology together ensure that every product remains both a collectible work of art and a lasting part of its historic legacy.

Lomonosov Imperial Porcelain Factory: Masterpieces in Every Shape and Style

The Lomonosov Imperial Porcelain Factory produces around four thousand different items, each designed with its own form, function, and artistic pattern. The range includes full tea, coffee, and dinner sets, along with individual tableware pieces for daily use and special occasions. The factory also creates collectible gifts, keepsake souvenirs, decorative plates, ornate dishes, and intricate sculptures that depict both realistic and stylized animals, as well as genre scenes inspired by Russian art and culture. These pieces are made using three main types of porcelain: hard-paste, soft-paste, and bone china, each with distinct qualities that affect the look, texture, and durability of the final work.

Making porcelain at this level is a demanding process that requires skill, patience, and precision. A single porcelain cup can pass through as many as eighty separate production steps before it is complete. Despite adopting modern advancements, the factory has preserved the traditional porcelain-making methods developed in the 18th century by Dmitry Ivanovich Vinogradov, the founder of the Russian porcelain industry. His classic formula for hard-paste porcelain set the standard for strength, density, and pure white color, and it remains at the core of the factory’s production today.

The story of the factory’s soft-paste porcelain dates back to the early 19th century, when chemist Nikolai Kachalov created a new composition that offered a smoother texture and a softer glow compared to hard-paste. This formula quickly became a signature material for certain decorative and functional pieces, prized for its unique visual warmth.

Bone china holds a special place in the Lomonosov portfolio for its elegance and refined finish. Known for its exceptional whiteness, fine texture, and feather-light weight, this porcelain closely matches the qualities of the legendary Chinese “eggshell” porcelain, famous for its thin, translucent walls. Fifty years ago, the Lomonosov Imperial Porcelain Factory developed its own eggshell bone porcelain technology, becoming the first in Russia to produce a commercial collection of such delicate, transparent works. These pieces remain some of the most sought-after items among collectors and enthusiasts.

Decoration is a vital stage of the factory’s art. Products are finished with either hand-painted or machine-applied designs, using overglaze, underglaze, or a combination of both techniques. The paints often contain rare and precious metals, such as gold and platinum, which add lasting brilliance and value. Each approach requires specialized skill: overglaze painting allows for bright, vivid colors on the surface, while underglaze painting offers deep, durable patterns that remain vibrant through years of use. Together, these methods ensure that every piece from the Lomonosov Imperial Porcelain Factory is both a functional object and a lasting work of art.

Baikal Collection: Lomonosov Imperial Porcelain Factory’s Fusion of Kintsugi Art and Russian Craftsmanship

The Baikal Collection is one of the most distinctive series produced by the Lomonosov Imperial Porcelain Factory, created by painter Vera Bakastova. She drew inspiration from the Japanese art of kintsugi, which translates as “gold patch.” Kintsugi is a centuries-old method of repairing broken ceramics using lacquer mixed with powdered gold, silver, or platinum. The technique does not attempt to hide cracks or chips. Instead, it highlights them, turning signs of damage into shimmering features that celebrate the object’s history. In this philosophy, every imperfection tells a story. Each fracture and flaw is embraced as an essential chapter in the life of the piece. The repaired lines are displayed openly as a reminder that change, wear, and even breakage are inevitable in both objects and life.

Kintsugi has gained wide recognition in recent years not only among artists and designers but also within psychology. The idea that mistakes, scars, and flaws contribute to individuality has resonated far beyond the art world. Kintsugi invites people to see beauty in what is damaged or incomplete. In this way, gold-filled cracks become symbols of resilience and renewal. Perfection is not the absence of flaws but the transformation of them into something unique.

The Baikal Collection translates this concept into porcelain. Each piece carries a gold ribbon running across the surface, imitating a restoration seam. This ribbon visually unites fragments of deep cobalt decoration, giving the impression of delicate yet strong binding. The smooth porcelain background contrasts with these flowing golden lines, creating a striking image that recalls the frozen surface of Lake Baikal, with golden cracks glinting like sunlight on ice. It is this imagery that gave the collection its name.

The designs of the Baikal Collection are applied to the Tulip form, one of the most iconic shapes in the history of the factory. Creating a new porcelain form is among the most demanding roles in porcelain production. The artist responsible must design a shape that will serve as a base for countless decorative patterns from various painters. Once a form enters mass production, it can remain there for decades, often defining the visual style of its time. Only a few sculptors manage to create forms that remain relevant and admired for generations.

Serafima Yakovleva is one of these rare figures. A celebrated and honored artist, Yakovleva spent more than fifty years at the Leningrad Porcelain Factory, designing close to one hundred forms for tea sets, vases, and other porcelain works. Many of her designs achieved wide recognition and are still produced in large quantities today. Among them, the Tulip form stands out as one of her most enduring creations. Introduced in 1936, it became inseparably linked to the factory’s famous Cobalt Net pattern designed by Anna Yatskevich.

Serafima Yevgenyevna Yakovleva, born in 1910 in the village of Kapuzovo in Novgorod Province, graduated from the Ceramic Department of the Leningrad Art and Industrial College in 1931. She began her career developing glass and porcelain standards before turning to original form design. Her Tulip form remains one of the most reproduced and recognized shapes from the factory, appreciated for its graceful contours and timeless appeal.

Every piece in the Baikal Collection, like all porcelain from the Lomonosov Imperial Porcelain Factory, goes through an intricate process involving dozens of skilled specialists. At every stage of production, from shaping to painting to gilding, the items are handled by experts who follow strict quality standards. This careful craftsmanship ensures that each work not only carries the beauty of its design but also meets the lasting standards of one of the world’s most respected porcelain traditions.

Nina Slavina Collection: A Lifetime Shaping the Art of Russian Porcelain

Nina Slavina is a celebrated name in Russian porcelain art, known for creating pieces that have stood the test of time. Over her long career, she produced hundreds of designs that are now regarded as classics of decorative porcelain. Many of her works are still made today at the Lomonosov Imperial Porcelain Factory, cherished by generations of collectors and admired for their craftsmanship and timeless beauty.

Nina Pavlovna Slavina was born in 1928 into a family deeply rooted in porcelain artistry. Her grandfather, Mikhail Pescherov, was a leading painter at the Imperial Porcelain Factory before it was renamed the State Porcelain Factory after the October Revolution. Both her parents worked at the factory as well, making porcelain a part of her daily life from the very beginning. As a child, she often visited the workshops, watching her parents at work and observing the intricate process of painting and shaping fine porcelain. Surrounded by this world, she developed a passion for art early on, spending her free hours sketching and experimenting with drawing.

In 1946, just after the war, she entered the Leningrad Vera Mukhina Higher School of Art and Design. The post-war years were difficult, with limited resources and harsh conditions. She recalled that they sometimes drew on scraps of wrapping paper and spent hours clearing debris from the school building before they could even begin their lessons. But despite these hardships, she studied with enthusiasm, grateful for the chance to learn in a time of peace.

After graduating in 1954, Slavina joined the State Porcelain Factory named after M. V. Lomonosov. She immediately began exploring different painting techniques, from overglaze and underglaze to mechanized painting. Her technical curiosity led her to experiment with silkscreen printing, finding ways to capture the detail and refinement of original hand-painted works in larger production runs without losing their quality.

Her creative vision extended beyond surface decoration. She was deeply involved in shaping porcelain forms, designing tableware sets, vases, and decorative pieces that stood out for their originality. She blended practical shapes with rich visual expression, often creating works that were considered ahead of their time. Between 1978 and 1985, she served as Chief Artist of the Leningrad Porcelain Factory, guiding the artistic direction of the entire enterprise and influencing the design philosophy of its collections.

Slavina’s talent earned her significant recognition. Her “White Flower” and “Impromptu. Spring” porcelain sets won the Silver Medal from the Academy of Arts of the USSR. In 1981, she was named an Honored Artist of the RSFSR, and in 1995, she became an Academician of the Russian Academy of Arts. She represented the Leningrad Porcelain Factory at major exhibitions both within the Soviet Union and internationally, showcasing her works in countries including Belgium, Turkey, Germany, Poland, and Italy. Wherever they were displayed, her designs drew praise for their artistry and elegance.

Her career with porcelain lasted nearly fifty years, and her works now hold places of honor in museums and private collections around the world. In Russia, they are part of the collections of the State Hermitage Museum, the State Russian Museum, and the Kuskovo Memorial Estate, among others. Each piece reflects her mastery of technique, her eye for form, and her lifelong dedication to elevating porcelain into a true art form. Nina Slavina’s legacy continues to shape the reputation of the Lomonosov Imperial Porcelain Factory, keeping her influence alive for new generations of artists and collectors.

White Gold: The Bone China Mastery of the Lomonosov Imperial Porcelain Factory

The Lomonosov Imperial Porcelain Factory holds a leading place in Russia for producing eggshell bone china, a material often called “white gold” in the porcelain world. This is not an ordinary ceramic. It is incredibly light, almost weightless in the hand, and so fine that light can pass through it. Yet despite its delicate look, it has remarkable strength because of its unique composition. This strength allows the pieces to be both functional and decorative, making them prized by collectors and everyday users alike.

The natural color of this bone china is a soft, refined white, distinct from the stark brightness of standard porcelain. When tapped gently, it produces a clear, musical tone, a sound that signals its purity and craftsmanship. This characteristic ring is one of the reasons bone china has long been a symbol of elegance and prestige.

What sets the Lomonosov Imperial Porcelain Factory apart is its proprietary production method. The factory’s engineers developed a specialized technology that makes their bone china even finer, smoother, and whiter than many leading counterparts across the world. This advancement quickly positioned the factory at the forefront of the global porcelain market, allowing it to compete not only with traditional European makers but also with renowned Asian porcelain houses.

The formula used in creating this porcelain is carefully guarded. It blends select raw materials in precise ratios to achieve the perfect balance of translucency, strength, and color. The result is an ivory-white tone that looks soft yet luminous, a texture that feels silky to the touch, and a level of thinness that still maintains durability. This rare combination of qualities is what makes the Lomonosov bone china distinct, sought after, and worthy of the name “white gold.”

Anna Yatskevich and the Creation of the Cobalt Net: The Icon of the Lomonosov Imperial Porcelain Factory

Anna Adamovna Yatskevich, the visionary artist behind the legendary Cobalt Net design, was born on July 31, 1904, in Leningrad, now Saint Petersburg. She came from a white-collar family and grew up surrounded by the city’s rich cultural life. Her artistic path began formally in 1925, when she enrolled in the State Art and Industry College. After five years of study, she graduated in 1930 with a specialization as a porcelain artist, fully equipped with the technical and creative skills that would define her career.

On January 15, 1932, Anna began working at the Lomonosov State Porcelain Factory. She would remain there for the next two decades, dedicating her life to the craft until her untimely death in 1952. It was during these years that she created what would become not only a design but the very symbol of the factory itself. The Cobalt Net pattern, first applied to a porcelain tea set, would go on to be celebrated worldwide as the hallmark of the Imperial Porcelain Factory.

The development of the Cobalt Net was not immediate. Yatskevich drew inspiration from the refined porcelain decorations of the 18th century, particularly those from Empress Elizabeth’s Own Service. That earlier design featured a gold lattice with tiny rosebuds painted at the intersections. Anna reimagined it with her own modern vision. She replaced the gold lattice with a cobalt blue net and enhanced it with delicate accents of 22-carat gold. The milk-white porcelain background provided a striking contrast that made the geometric pattern vivid and elegant. This modernized style carried the elegance of imperial Russian porcelain into a new era while retaining a connection to its aristocratic past.

One of the most powerful influences on the creation of this design came during the Siege of Leningrad, which lasted from September 8, 1941, to January 27, 1944. Anna remained in her city for the entire siege, continuing to work at the Lomonosov Factory under extreme hardship. The sight of windows in Leningrad, crisscrossed with strips of tape to protect them from shattering, caught her attention. In a moment of inspiration, whether lit by a rare evening sun or a beam of spotlight, the geometric shapes formed by the taped glass struck her as unexpectedly beautiful. That visual impression stayed with her, merging with her historical influences and ultimately shaping the distinctive lattice design of the Cobalt Net.

The pattern became timeless, but Anna never saw the full scope of its fame. She passed away on May 13, 1952, at the age of 48, her health irreparably damaged by the hardships she endured during the siege. The Lomonosov Factory later honored her legacy by celebrating the 50th anniversary of the Cobalt Net on her birthday, July 31, ensuring that her name would always be tied to this masterpiece.

Today, the Cobalt Net remains one of the most recognizable porcelain patterns in the world. It reflects the elegance of Russian artistic tradition, the resilience of a city under siege, and the creative vision of an artist whose work continues to define the identity of the Lomonosov Imperial Porcelain Factory. Through her dedication, Anna Yatskevich transformed a simple concept into a cultural emblem, leaving behind a design that has outlived her by decades and will continue to do so for generations to come.

The Cobalt Net: The Signature Pattern of the Lomonosov Imperial Porcelain Factory

The elegant and distinguished Cobalt Net pattern has been a symbol of the Lomonosov Imperial Porcelain Factory for more than half a century. Many people recognize it from childhood, as it has been produced continuously for over 50 years with enduring popularity. Its success is rooted in both its history and its artistry. The design draws on elements from the first porcelain service created in the mid-18th century by Dmitry Ivanovich Vinogradov, the founder of Russian porcelain, for Empress Elizabeth. That original service, known as the “Own” set, carried a refined lattice motif that would later inspire this modern classic.

The Cobalt Net was the creation of Anna Adamovna Yatskevich, a gifted artist born in Leningrad, now Saint Petersburg. She spent the entirety of the Siege of Leningrad, from September 8, 1941, to January 27, 1944, in her home city, continuing her work at the Lomonosov Factory despite the dire conditions. During that time, she noticed the taped cross patterns on windows throughout the city, applied to prevent shattering from explosions. One day, whether caught in the soft glow of evening sunlight or illuminated by an artificial beam, the crisscrossed glass revealed a geometric beauty that struck her deeply. That moment of inspiration became the seed of what would evolve into the Cobalt Net pattern.

Anna refined the design through many variations, aiming for perfect geometry and a balanced rhythm in the intersecting lines. At first, the net was painted in gold, but soon she reinterpreted it into cobalt blue intersecting lines with small golden star-like accents at each crossing. This combination gave snow-white porcelain both elegance and structure. Production began in 1945, right after the end of the Second World War. By 1946, the final cobalt version had emerged, creating a style that would define the factory’s image for decades.

The Cobalt Net first appeared on a tea set in the Tulip shape, designed by S. Yakovleva. The interplay between the graceful lattice and the flowing curves of the Tulip form gave the set a noble and ceremonial appearance. This harmony of form and decoration captivated audiences, and in 1958, the set earned gold medals at the Brussels World’s Fair, cementing its international reputation.

Over time, the pattern expanded beyond tea services. Under the work of Lomonosov painter Galina Shulyak, the Cobalt Net was adapted to coffee sets, dinnerware, vases, and souvenir items. Its versatility allowed it to remain fresh while preserving its signature elegance. Today, pieces bearing the Cobalt Net are held in the collections of the State Hermitage Museum, the Russian Museum, the State Historical Museum, and other major cultural institutions.

Russian Ballet in Imperial Porcelain Art: Tradition, Mastery, and Cultural Legacy

Ballet has long been one of Russia’s greatest cultural treasures and a symbol of national pride. It is often seen as the country’s cultural calling card, representing Russian artistry to audiences worldwide. This deep connection between ballet and Russian identity has inspired the Imperial Porcelain Manufactory to create a remarkable series dedicated to this art form, capturing its grace, emotion, and history in fine porcelain.

At the center of this work is Lyubov Tsvetkova, the leading artist of the Imperial Porcelain Manufactory and a master of painting on thin-walled bone china. This rare and refined material is prized for its exceptional whiteness and delicate translucency, qualities that make it perfect for rendering the light, fluid beauty of ballet. Bone china production began in Russia in 1969, and in 2019, the country marked the 50th anniversary of its creation. Tsvetkova’s Russian Ballet series showcases the same elegance found on stage. Just as in dance, where effortless movements hide years of discipline, her porcelain paintings conceal a demanding process that requires absolute precision and care. These pieces, each a small masterpiece, can elevate the atmosphere of any space, regardless of its style.

The Russian Ballet series also draws inspiration from legendary works in the country’s performance history. One of these is Sergei Prokofiev’s adaptation of Shakespeare’s Romeo and Juliet. In the mid-1930s, Prokofiev discussed staging his operas in Leningrad, but the idea evolved when Adrian Piotrovsky, then director of Lenfilm, suggested creating a ballet based on Shakespeare’s tragedy. By May 1935, Prokofiev had refined his vision, yet the premiere did not take place until January 11, 1940. His score transformed the timeless story into a ballet full of passion and dramatic depth. Many critics still consider it one of the greatest ballet interpretations ever staged, a performance that remains influential in both music and choreography.

Another source of inspiration is the ballet Giselle, connected to the French composer Adolphe Adam’s time in Russia. During a visit to St. Petersburg, Adam was offered a prestigious position as court composer by the Russian Emperor, which he declined for reasons that remain debated among historians. When he returned to Russia, he began work on Giselle, which premiered in 1841. This ballet tells the tragic story of a young peasant girl deceived by a nobleman named Albert, blending themes of love, betrayal, and supernatural vengeance. Its romantic spirit and expressive choreography have kept it alive on stages around the world for nearly two centuries.

The Russian Ballet series also pays tribute to The Little Humpbacked Horse, a ballet composed by Rodion Shchedrin in the late 1950s at the request of the Bolshoi Theatre. Based on Pyotr Ershov’s beloved fairy tale, it follows the adventures of the peasant Ivan and his loyal magical horse, weaving in the beautiful Tsar Maiden, a foolish Tsar, and whimsical elements that captivate both children and adults. Shchedrin’s music brings emotional power to the playful yet touching story, while vivid stage design adds a rich visual layer.

Equally significant is Scheherazade, created by Nikolai Rimsky-Korsakov and inspired by the tales of One Thousand and One Nights. This ballet is remembered for its bold and passionate choreography, which was considered groundbreaking when it premiered on June 4, 1910, at the Grand Opera as part of Sergei Diaghilev’s Russian Seasons. Rimsky-Korsakov’s score transports audiences into an imagined East, filled with lush imagery, dramatic themes, and an atmosphere of mystery. The production’s mix of color, movement, and emotional intensity left a lasting mark on the history of ballet.

Russian Ballet Masterpieces in Porcelain - Celebrating The Nutcracker, Petrushka, Swan Lake, Don Quixote, and Cinderella

New Year in Russia is a season filled with warmth, celebration, and the spirit of giving. In this festive time, one work of art stands above all as an enduring symbol of the holiday - The Nutcracker by Pyotr Ilyich Tchaikovsky. First performed in 1892 at the Mariinsky Theatre in St. Petersburg, the ballet became a cherished tradition, admired for the beauty of its melodies and the magic of its staging. From the graceful Waltz of the Flowers to the playful national dances of Chocolate, Coffee, and Tea, every scene captures the wonder of the season. The Dance of the Sugar Plum Fairy, with its delicate charm, remains one of the most recognized pieces in classical music. This ballet has come to embody the idea of a true Christmas fairy tale, one that continues to create a sense of joy and enchantment year after year.

Another unforgettable figure in Russian ballet history is Petrushka, a character from Russian folk theater who took on new life in the avant-garde ballet world of the 20th century. Composed by Igor Stravinsky, Petrushka debuted as part of Sergei Diaghilev’s Russian Seasons in Paris. During its rehearsals, the music struck the orchestra as so unusual and humorous that they laughed openly, unaware they were hearing what would become a defining work of the century. The ballet’s vivid colors, imaginative staging, and bold energy have continued to captivate audiences for generations, making Petrushka a symbol of artistic innovation and cultural creativity.

No discussion of Russian ballet would be complete without Swan Lake. In 1871, Tchaikovsky wrote a one-act children’s ballet called Lake of Swans for his family. Six years later, in 1877, he transformed the concept into the full-length Swan Lake, which premiered at the Bolshoi Theatre in Moscow. Today, it stands as the very emblem of classical ballet, admired for its emotional depth, technical mastery, and hauntingly beautiful music. Many of the world’s greatest dancers have considered it an honor to perform in this iconic work, which continues to define excellence in both music and choreography.

The ballet Don Quixote, based on Miguel de Cervantes’ novel, brought Spanish flair to the Russian stage. Ludwig Minkus composed its music, and Marius Petipa, master choreographer of the Bolshoi Theatre, crafted its spirited choreography. The performance blends virtuosity with theatrical charm, allowing even the smallest roles to shine with wit and character. Known for its vibrant costumes, lively dances, and joyful atmosphere, Don Quixote offers audiences a sense of celebration that feels both grand and playful.

Sergei Prokofiev’s Cinderella carries a different kind of magic, telling the story of a kind and gentle girl mistreated by her cruel stepmother. Prokofiev began composing the ballet in 1940, but the onset of war delayed its completion. During this time, parts of the music were performed independently as orchestral works, highlighting its lyrical beauty. The ballet’s full premiere finally took place in 1945 at the Bolshoi Theatre. With its blend of fantasy, elegance, and emotional warmth, Cinderella has remained a timeless favorite, embodying the enchantment of classic fairy tales while showcasing Prokofiev’s masterful score.

Through its porcelain artistry, the Imperial Porcelain Manufactory captures the essence of these legendary ballets, preserving not just their visual beauty but the emotions, stories, and cultural significance they carry. Each piece becomes a tribute to the stage, translating the movement of dance into enduring works of fine art.

How to Identify Authentic Lomonosov Imperial Porcelain and Avoid Counterfeits

Many online marketplaces, including eBay and Amazon, list products claiming to be Lomonosov Imperial Porcelain. Unfortunately, a large number of these are imitations. Counterfeit porcelain is often mass-produced in China and sold under the Lomonosov name, but it does not meet the same quality standards, safety requirements, or artistic craftsmanship. These fakes may look similar at first glance, but there are clear differences that help separate the genuine pieces from the copies.

The original Lomonosov Imperial Porcelain Cobalt Net design cannot be authentically reproduced in China. The factory in St. Petersburg uses specialized equipment and centuries-old production techniques that are not available to overseas manufacturers. One of the most important distinctions lies in the firing process. Genuine Russian porcelain is fired at 1400°C (2552°F), which is crucial for achieving the rich cobalt tones and the durable, high-quality finish the brand is known for. Chinese porcelain cannot withstand such extreme temperatures and is typically fired at only 1300°C (2372°F). This lower firing temperature results in a noticeably different cobalt color, a less refined surface, and weaker durability compared to the original.

Another telling sign of authenticity is the quality of the materials. The Lomonosov Imperial Porcelain Factory uses safe, carefully sourced raw materials that have been tested for health compliance. The same cannot be said for many counterfeit pieces, where the safety and origin of materials are often unknown and unverified. This can pose not only a quality issue but also potential health risks, especially with tableware.

If you are uncertain about whether a piece is genuine, the safest approach is to verify it directly with an authorized Lomonosov representative. Sending a clear photo of the item for review can confirm its authenticity before you make a purchase or add it to your collection. This quick step can save you from investing in a fake and ensure you own a piece of true Russian porcelain art, crafted with the unmatched skill and tradition that has defined the Lomonosov Imperial Porcelain Factory for generations.