Ilgiz Fazulzyanov, the Russian designer who is the first living jeweler to be awarded a solo exhibition at the Moscow Kremlin Museum, knew from an early age that he wanted to be an artist.

Born in Kazan in 1968, in the Russian republic of Tatarstan, about 500 miles east of Moscow, he was just 9 years old when he registered himself for daily after-school art classes at a local college.

“Other kids dreamed of being astronauts, soldiers or pilots, but I never imagined myself as anything other than as an artist,” Mr. Fazulzyanov said.

The exhibition, which opens on April 1 and runs through July 31, will span the designer’s work from his earliest experiments in the complex art of enameling to his prize-winning creations of today. For the show, he specially created about 60 percent of the jewels that will be displayed.

Known for the delicate, color-intense details in his depictions of nature, as well as technical innovations such as the faceting of pearls and opals, Mr. Fazulzyanov, 47, the third of four children born to a car mechanic and a factory machinist, said he did not grow up surrounded by art.

Instead, his inspiration was “the sheer beauty of what I could see from the window of my house,” he said, speaking through an interpreter.

He grew up close to Sviyazhsk, where the Volga and Sviyaga Rivers meet, a spot known for a 16th-century monastery and attractive surroundings, and spent much of his free time in the thick forests nearby, picking mushrooms in summer and skiing in winter. This love of nature has informed his work ever since.

Mr. Fazulzyanov, who combines the poetic spirituality of an artist with the exacting eye of a perfectionist, added that he pushes himself to depict not only an element of nature but a specific moment in its life cycle.

“To show the beauty of a flower is one thing,” he said. “To show it at a certain moment in time, that is the challenge of a true master.”

His brooch of a swan, in enamel and black and white diamonds, captures the moment it takes flight. The minute detailing of the individual barbs of the bird’s feathers took four months to complete.

And a delicately colored linden tree branch, complete with leaves and seed pods, is fully articulated to represent its movement in a gentle breeze.

After leaving school at 14, Mr. Fazulzyanov spent four years studying drawing and design at a local college, then initially chose large-scale wall paintings as his professional medium.

It was only by chance, in 1991, that he became a jeweler. Entirely self-taught, he first mastered the filigree technique for which his local region is famous, after being inspired by the pieces in local museums. After winning his first international prize in 1994, he decided to concentrate on jewelry. (In recent years, he also has worked for the Swiss watch brand Bovet.)

Eventually he became frustrated by the lack of color in metalwork, and inspired by the discovery of a pair of enameled flower jewels, he tried enameling for the first time in 1997 while preparing for an exhibition in Poitiers, France.

“When I laid my hands on those flowers,” he said. “I was so impressed that I reworked almost everything I’d prepared for the exhibit using this new technique.”

Although it can take years to perfect the skills needed for complex enameling, he produced those exhibition pieces in just one month. Some will be included in the Kremlin exhibition, and Mr. Fazulzyanov said he was pleasantly surprised when he saw them again, almost 20 years later. “They’re not impeccable but they’re good,” he said with a smile.

It turned out to be a serendipitous case of an artist’s discovering his true medium.

“It’s definitely my material,” he said. “It’s a true obsession for me — in a good way.”

Indeed, Mr. Fazulzyanov is widely considered to have pushed past enameling’s customary limitations. An admirer of the French glass designer René Lalique, whom he described as “a true master,” he has been able to increase the number of colors it is possible to apply to a single small surface area.

“For Fabergé, Mr. Lalique used a maximum of three colors. At this moment, I can combine up to seven colors,” said Mr. Fazulzyanov, who added that he considers himself still to be in “Jewelry 101” and is always learning new things.

Enameling is a complex process that involves burning individual layers of color onto metal at high temperatures. It is a delicate operation; artists know they risk irreparably damaging pieces every time they go into the oven.

The effect, however, is magical. One ring shows a pheasant stepping into the long grass during an early-morning frost. Every tiny strand of grass is depicted in four colors. The piece also demonstrates another of Mr. Fazulzyanov’s innovations: The carving of a center opal suggests the frost’s delicate ice crystals as they catch the rays of the rising sun.

Now with an international following, Mr. Fazulzyanov has trained the 15 craftspeople who work in his Moscow studio, although he still is involved in every stage of production.

The most challenging stage, he said, is the first one: The initial thought that leads to the putting of pen to paper.

“It’s the most time-consuming and soul-draining stage,” he said.

He then creates a detailed plan for his team but looks at the piece at the end of every stage to check progress. Finally, he applies the finishing touches, using what he described as his trade secrets, such as his own technique for fine finishing.

Mr. Fazulzyanov sells his own pieces, which range from 5,000 euros to €300,000, or about $5,500 to $330,000, and they can be purchased at a handful of exclusive locations from Kalina in Monaco to the New Art Lab in Tokyo.

The fine jewelry boutique Annoushka in London is the exclusive outlet for Mr. Fazulzyanov’s designs in Britain. Annoushka Ducas, its founder, who also created Links of London, said she fell in love with his work as soon as she saw it, in part because it reminded her of a childhood surrounded by her Russian grandfather’s art collection. “The quality is so phenomenal, and I love his juxtaposition of traditional enameling with contemporary design,” she added.

Mr. Fazulzyanov travels frequently to show his work, trips that have allowed him to draw on the artistic traditions of places such as France and Germany, China and Japan. He believes that this multicultural approach, together with a lack of formal training in jewelry, has helped him to forge a unique look.

Aside from admiring the work of the Hong Kong jeweler Wallace Chan and the German house Hemmerle, Mr. Fazulzyanov generally despairs at what he describes as “a certain and unfortunate lack of artists in jewelry today.” Most companies, he added, create jewelry “of consumer-grade luxury.”

“There are a lot of precious stones which is O.K.,” he said, “but it’s not art.”

He is in discussions for the Moscow exhibit to travel to London to the Victoria and Albert Museum, and hopes to organize a regional tour in Russia.

“I want to promote jewelry as an art,” he said. “I therefore want as many people to see it as possible.”