Tang Dynasty Pavilion (618-907)
This pavilion transports you to the heart of the 8th-century world-Chang'an-for a spectacular visual feast of cultural fusion. Tang Dynasty ceramics are like a grand court performance: exuberant in color, robust in form, and brimming with vital energy and cosmopolitan confidence. Here, you will witness how the Great Tang Empire embraced exotic influences with unmatched fervor, creating the first globally resonant spectacle of color in Chinese ceramic history.
Core Characteristics of Artifacts:
The most distinctive feature of Tang ceramics is the maturity and popularity of low-temperature lead-glazed sancai (tri-color) ware. The glazes-primarily yellow, green, white, and brown-flow and blend into brilliantly variegated effects. The forms are voluptuous, rounded, and sculptural, often depicting Silk Road motifs like Central Asian figures, camels, and horses. The era also established a clear "Southern Celadon, Northern Whiteware" dichotomy. Southern Yue ware celadon was ice-like and jade-like, while Northern Xing ware white porcelain rivaled silver and snow, showcasing the diverse technical peaks across the empire's vast territories.
Tri-Color Glazed Ceramic Camel with Musicians
Early to High Tang (c. 7th-8th century)
This vibrant camel and musician group, a quintessential Tang sancai burial object (7th-8th century), showcases the era's openness. Its flowing lead glazes in yellow, green, and
white embody the lively Silk Road culture and the Tang's confident, cosmopolitan spirit.
Yue Ware Celadon Lotus-Shaped Bowl
Mid to Late Tang (c. 9th century)
Carved in the form of a blooming lotus (9th century), this bowl exemplifies the serene "Southern Celadon." Its jade-like olive-green glaze reflects the Tang appreciation
for natural forms and the pursuit of understated elegance, prefiguring the famed "Mise" ware.
Xing Ware White Porcelain Jar with "Ying" Mark
High Tang (c. 8th century)
Marked with the character "Ying" for the imperial treasury (8th century), this jar represents the "Northern White" perfection of Xing ware. Its snow-white,
fine-grained body demonstrates the sophisticated kiln technology and minimalist aesthetic of the High Tang.
Changsha Ware Underglaze Brown-and-Green Bird-and-Flower Pattern Ewer
Mid Tang (c. 9th century)
A key export commodity of the 9th century, this ewer is adorned with freehand underglaze painting in brown and green. Its poetic bird-and-flower motifs highlight the innovative
spirit of Changsha kilns and the cultural exchange along maritime trade routes.
Song Dynasty Pavilion (960-1279)
Step away from the worldly clamor and enter a tranquil space for introspection. Song Dynasty aesthetics represent an inward revolution. The ceramics here do not seek to dazzle with color or overwhelm with form. Instead, they embody a philosophical quest, with poetry etched into their very bones. Like jade, the sky, or a misty landscape, they contain infinite resonance and latent vitality within their supreme simplicity and elegance. We invite you to experience the pinnacle of Eastern wisdom and the artistic ideal of "investigating things to extend knowledge" (gewu zhizhi).
Core Characteristics of Artifacts:
Song Dynasty ceramics represent an unparalleled zenith in Chinese aesthetics, centered on the extreme refinement of monochrome glazes and the veneration of natural texture. The "sky-after-rain" blue of Ru ware, the pale bluish-green of Guan ware, and the "plum green" of Longquan celadon are all poetic distillations of colors found in nature. The crackle patterns (kaipian)-ice crackle, golden threads and iron wires-were elevated to philosophical significance, transforming a technical "flaw" into an appreciation of "heaven-made" beauty. The forms are simple, elegant, and precisely proportioned, devoid of superfluity, achieving perfect unity of function and form, deeply reflecting the literati class's taste.
Ru Ware Sky-Blue Glazed Brush Washer
Late Northern Song (c. 1086-1125)
The ultimate symbol of Song dynasty refinement (late 11th-early 12th century). This washer, made for the imperial court, is revered for its enigmatic "sky-after-rain" blue
glaze and fine crackle, embodying a philosophical ideal of serene, understated beauty.
Jun Ware "Flower-Spurting" Purple-Glazed Flowerpot
Northern Song to Jin dynasty (c. 11th-13th century)
Celebrated for its unpredictable "kiln transformation" (11th-13th century). This flowerpot's thick glaze captures a stunning moment where copper oxides have bloomed
into a landscape of rose-purple and blue, a testament to the magic of fire and chemistry.
Ge Ware Crackled "Golden Thread & Iron Wire" Censer
Southern Song (c. 12th-13th century)
A Southern Song (12th-13th century) masterpiece of cultivated beauty. Its network of dark "iron wire" and golden crackles against a warm beige glaze was intentionally
created, celebrating the beauty of flaw and the passage of time-a concept central to Song literati taste.
Ding Ware Incised Dragon-Head "Kundika" Bottle
Northern Song (c. 11th century)
An iconic vessel from the Northern Song (11th century). Its pure ivory-white body is adorned with sharply incised dragon motifs. The "rim-less" mouth, a result of the
innovative upside-down firing technique, marks its esteemed status.
Yuan Dynasty Pavilion (1271-1368)
Journey across vast steppes and deserts to a bold new era of fusion. Yuan Dynasty ceramics resemble a global caravan escorted by Mongol cavalry-monumental in scale and dense with ornamentation. Persian cobalt met the skilled hands of Chinese potters, painting epic tales in brilliant blue upon a white porcelain ground. Everything here became larger, fuller, and more intense, proclaiming the monumental artistic vision of a trans-Eurasian empire.
Core Characteristics of Artifacts:
The most significant hallmark of Yuan ceramics is the maturation and dominance of blue-and-white porcelain (qinghua). Using imported "Sumali" cobalt, the blue is vivid and often exhibits characteristic "iron-rust" spots. The objects are massive in scale, and the decoration features densely packed, multi-layered compositions-often seven to nine tiers-that fuse traditional Chinese motifs (dragons, phoenixes, scrolling lotuses) with Islamic-inspired geometric borders. The firing technology for underglaze red (youlihong) using copper began during this period, though its low success rate made it exceptionally rare and precious.
Blue-and-White "Guiguzi Descending the Mountain" Jar
Mid to Late Yuan (c. mid-14th century)
A mid-14th century icon of global trade. Using prized Persian cobalt, its dense, layered decoration depicts a dramatic historical tale. This jar represents the maturation of
blue-and-white porcelain as a dominant, cosmopolitan art form.
Underglaze Red Copper "Chrysanthemum Scroll" Yuhuchun Vase
Mid to Late Yuan (c. mid-14th century)
A technically daring achievement of the Yuan era (mid-14th century). The vibrant copper-red chrysanthemums, challenging to fire successfully, scroll boldly against the white ground,
showcasing a blend of Chinese form and Islamic decorative influence.
"Shufu" Glazed Egg-White Bowl with Molded Design
Mid Yuan (c. early 14th century)
A staple of Yuan official ware (early 14th century). Its name derives from the mould-impressed "Shufu" characters. The opaque, bluish-white "egg-white" glaze and
sturdy form reflect its functional, institutional use within the vast Mongol administration.
Longquan Celadon "Phoenix-Tail" Zun Vase
Late Yuan (c. 14th century)
A majestic example of late Yuan (14th century) export celadon. Its monumental form is covered in a thick, jade-like sea-green glaze. Such large-scale vessels were mass-produced in
Zhejiang and shipped across the Indian Ocean world.
Ming Dynasty Pavilion (1368-1644)
Enter an orderly and brilliantly colored Ming hall. Ming Dynasty ceramics unfold like an illustrated storybook, with clear narratives and auspicious symbolism. The rigor of the imperial kilns intertwines with the vigor of private kilns; the serene beauty of blue-and-white vies with the fiery exuberance of polychrome enamels. Every piece is painted with stories and blessings, encapsulating courtly authority, scholarly refinement, and popular aspirations within this art of clay and fire.
Core Characteristics of Artifacts:
Ming porcelain reached high levels of standardized quality under the strict imperial kiln system, with distinct stylistic phases: early Ming blue-and-white inherited Yuan traits using imported cobalt; Chenghua doucai (contrasting colors) was exquisitely delicate; and Jiajing/Wanli wucai (five colors) was bold and vibrant. Ceramics became a crucial cultural medium, with decoration rich in auspicious meanings (e.g., bats for fortune, peaches for longevity) and featuring narrative scenes, landscapes, and figures. The forms are dignified and well-proportioned, with large vessels demonstrating masterful firing control. Export wares (Kraak porcelain) developed distinct styles with far-reaching influence.
Yongle Blue-and-White "Dragon Amid Waves" Moonflask
Yongle Reign (1403-1424)
Emblematic of early Ming imperial power (early 15th century). This flask depicts a powerful five-clawed dragon amidst turbulent waves. The vivid, "heaped and piled" blue
from mixed cobalt sources conveys unmatched authority and dynamism.
Chenghua Doucai "Chicken Cup"
Chenghua Reign (1465-1487)
The most celebrated embodiment of Ming imperial taste (late 15th century). Tiny yet exquisitely painted with hens and chicks, it combines underglaze blue outlines with soft overglaze
enamels. It represents the peak of delicate, scholarly refinement.
Jiajing Wucai "Fish and Waterweed" Jar and Cover
Jiajing Reign (1522-1566)
Bursting with vibrant color and Daoist symbolism (mid-16th century). This jar uses strong overglaze reds and greens to depict fish swimming among waterweeds, symbolizing abundance
and harmony. It reflects the lively, auspicious folk style popularized in this era.
Dehua Blanc-de-Chine Guanyin Figure
Late Ming (c. 17th century)
A late Ming (17th century) sculptural marvel from Fujian. Known in Europe as "Blanc-de-Chine," its creamy, warm-white glaze seems to glow from within, perfectly capturing
the serene compassion of the Guanyin Bodhisattva.
Qing Dynasty Pavilion (1644-1912)
Prepare for a spectacular celebration of technical virtuosity. Qing Dynasty ceramics, particularly the imperial wares of the Kangxi, Yongzheng, and Qianlong reigns, constitute a veritable encyclopedia of technical prowess written in clay. Here, the unimaginable becomes routine: antique styles were reproduced with astonishing fidelity, while innovations knew no bounds. With breathtaking ingenuity and skill, artisans pursued dazzling complexity, fusing imperial taste, national wealth, and the ambition of the age into each meticulously crafted object.
Core Characteristics of Artifacts:
Qing ceramics represent the ultimate synthesis and technical showcase of ancient porcelain-making. Archaisim reached new heights of accuracy, mimicking past dynasties' styles with near-perfection. Innovations proliferated endlessly: falangcai (enamel colors) incorporated Western painting techniques; fencai (familie rose) allowed for soft color gradients; imitations of natural forms (xiangshengci) were remarkably lifelike; and "revolving" vases demonstrated mechanical ingenuity. The decorative style trended toward intricate opulence, seeking a rich visual impact. Under direct imperial patronage, porcelain production achieved unprecedented technical sophistication, artistic ambition, and ornamental complexity.
Kangxi "Twelve Flower Goddess" Cups
Kangxi Reign (1662-1722)
A refined series from the Kangxi period (late 17th-early 18th century). Each cup features a different flower associated with a month and goddess, painted with a new, brilliant
overglaze blue. They exemplify the "hard" palette and exquisite miniature painting of the era.
Yongzheng Famille Rose "Branching Peach" Bowl
Yongzheng Reign (1723-1735)
The pinnacle of Qing pastel aesthetics (early 18th century). Using a soft "familie rose" palette on a white glass base, it depicts peaches-symbols of longevity-with
naturalistic shading. The "branching" design elegantly crosses from the exterior to the interior.
Qianlong Enamel "European Figures" Vase
Qianlong Reign (1736-1795)
The ultimate luxury of the Qianlong court (mid-18th century). Painted by Jesuit artists or their Chinese peers in palace enamels, it blends Western perspective with Chinese form. It
represents a unique fusion of cultures under imperial patronage.
Qianlong "Archaisitic Bronze" Zun with Animal Handles
Qianlong Reign (1736-1795)
A tour de force of Qianlong technical whimsy (mid-late 18th century). This vase is a masterful trompe l'oeil imitation of an ancient bronze, complete with simulated rust and
patina. It showcases the dynasty's ability to mimic any material in porcelain.
