Abstract: This article determines the key principles of designing fireworks and illumination compositions created in honor of the Russian State in foreign territories in the late XVII – early XVIII centuries. The analysis of themes and images contained therein in conducted in the context of the problematic of representative culture of that time. The article is first to attract the preserved graphic sources and published written archival materials discovered in recent years, including by the author of this research. Special attention is given to fireworks and illuminations on the occasion of the Treaty of Nystad, which did not receive due coverage within the scientific literature. Due to the peculiarities of “firearm art”, the research methodology relies on the scientific reconstruction with the use of art history, historical-cultural, as well as elements of iconographic and iconological analysis. It is revealed the firework festivities were one of the remarkable form of Russia’s representation abroad during the time of Peter the Great. In allegorical interpretation, they not only glorified the Russian State, but also reflected far-reaching plans of the monarch aimed at obtaining the imperial status of the country. Most of the fireworks and illumination compositions were based on the traditional for ambassadorial ceremonial culture of that time motif of the triumphal arch, and the arsenal of themes and images resembled the Russian festive complexes. The fire paintings were created in accordance with the principles similar to heraldic images: centerpoint, vertical and horizontal hierarchy, and laws of symmetry. As far back as his first trip to Europe, Peter the Great knew that fire performances is a source of creating awareness and excellent opportunity to make the country know to the world.