A Closer Look at Rare Chinese Ceramics of the Yuan and Ming Dynasties

Alongside the renowned theater and literature created in China between 1368 and 1644, the artistic legacies of the Yuan (1271-1368) and Ming (1368-1644) dynasties culminated in some of the world’s most exquisite porcelain creations.

Now, Asian art aficionados can feast their eyes on Imperial Treasures, a fascinating exhibition currently on view until August 10, 2025, at the Asian Society Museum in New York, showcasing 25 exceptional ceramic works from this influential era.

As part of its lauded efforts to educate the world about Asia, the Asia Society has opened the doors to Imperial Treasures: Chinese Ceramics of the Yuan and Ming Dynasties from the Mr. and Mrs. John D. Rockefeller 3rd Collection, an exhibition curated by Susan L. Beningson, the curatorial consultant of pre-modern Asian art.

“I wanted to create a jewel box—a room where people enter and their jaws drop, where they become excited about these works because of their sheer beauty,” Beningson enthuses, her excitement palpable. “As a curator, I felt like a kid in a candy shop—which pieces do I pick? What stories do I tell?”

An artful orchestration of remarkable ceramics with colourful heritage, the exhibition displays pieces from the famed John D. and Blanchette Rockefeller 3rd Collection, now permanently housed at the Asia Society Museum. Throughout their lifetime, the discerning husband-and-wife duo amassed approximately 300 masterworks of artistry and craftsmanship from around the world, including around 40 imperial ceramics from the Yuan and Ming dynasties.

As Beningson explains, “John D. Rockefeller began collecting Ming dynasty ceramics in the early 1960s, at a time when most American collectors were focused on Song dynasty (960–1279) works and tomb sculptures. He had a keen eye and was drawn to pieces with vibrant colours and luscious glazes. He put together this collection of masterworks.”

An insider’s guide to rare treasures

With Imperial Treasures, Beningson explains that the Asia Society “holds an embarrassment of riches with these ceramics; things that are visually important but also tell an amazing narrative about Chinese art history, as well as collecting and imperial tastes.”

Join Magnifissance for a closer look at select exhibited pieces from this golden period of history, known as ‘The Age of Porcelain.'”

Qilin Motif Platter

This early Yuan masterwork, a large blue-and-white porcelain plate, is decorated with a qilin—a mythical, unicorn-like creature believed to be an omen of fortuitous imperial rule. Surrounding the qilin are other auspicious symbols, including bamboo, morning glory, and flowering melons. This platter is particularly significant as one of the few examples of porcelain featuring an inscription in Farsi, which says it belonged to the collection of Shah Jahan, the Mughal emperor who built the Taj Mahal in the 1650s. “It was very, very rare for Chinese ceramics to go to India at this time.” says Beningson.

Scarlet Glaze Dish

Fired in the historic imperial Jingdezhen kilns during the 1400s, circa the Chenghua period, this rare porcelain plate is painted in a striking copper-red glaze. Known as ‘jihong’ or ‘sacrificial red,’ this sensuous shade was used for vessels in religious ceremonies at the imperial Altar of the Sun. It was also the banner colour of the Ming royal family, whose surname, ‘Zhu,’ translates to ‘red.’

Covered Carp Jar

This elegant Ming dynasty jar can be traced back to the Jiajing era in the 16th century. Its elaborate design, featuring golden carp swimming among river reeds, was achieved using the five-color ‘wucai’ technique developed at Jingdezhen during this period, combining blue underglaze with an enamelled overglaze. A lotus petal motif also adorns the side—together, the fish and lotus symbolize abundance and success.

Floral Patterned Dish

An ornate creation from the Zhengde era (1506–1522) in the Ming dynasty, this immaculately preserved decorative bowl was acquired by Rockerfeller from Sotheby’s in London in 1962. Blooms of peach, lychee, cherry, and pomegranate are painted on the interior, in addition to a camellia, an auspicious flower that blooms during Lunar New Year.

Whimsical Stem Cup

Crafted in the Jiangxi province between the mid and late 1400s, this striking porcelain cup catches the eye with motifs of elephants, fish-dragons, and prancing horses amid a stormy sea. During this period, the ancient mythical text Classic of Mountains and Seas (Shanhai Jing) had enjoyed a revival in China, likely influencing the design of this piece.

Decorative Flower Bowl

Another fine example of Jingdezhen porcelain, this bowl encapsulates early-1400s imperial tastes with its masterful depictions of fruit and flowers. Painted with a cobalt blue underglaze, its motifs include chrysanthemums, peaches, and pomegranates, together with lotus vine detailing. It was acquired for the Rockefeller collection in New York in 1962 from Chinese antiques dealer J.T. Tai & Co.

Symbolic Cobalt Dish

Created during the Xuande era of the Ming dynasty, this porcelain dish was created between 1426 and 1435. Featuring elegant incisement over a ground cobalt underglaze, it depicts camellia blooms garlanded with symbolic fruits and flowers, such as pomegranates, which represent fertility and children. Ming plates like these are thought to have been made for women at court.

Painted Ceramic Bowl

Another design infused with culturally significant symbolism, this delicate ceramic bowl has belonged to the Rockefeller collection since 1964, when it was acquired at a Sotheby’s auction through antique dealer John Sparks Ltd. Its surface is adorned with painted flowers and fruit, including peonies, lotuses, and cherries. Lychees also appear, symbolizing the joy of having a son to carry on the family name.

Incised Lotus Bottle

An exquisite example of foreign trade and craftsmanship influencing Chinese design, this early 15th-century bottle features a distinctive silhouette influenced by historic flask designs of Iran, Turkey, and Syria. Acquired for the Rockefeller collection in Hong Kong in 1977, the vessel is engraved with a delicate lotus medallion using the ‘anuha’ (‘hidden decoration’) technique, indicating it would have been used solely by the emperor, or perhaps at court.

Flaming Pearl Dragon Bowl

With an august heritage that goes back to the Xuande era (1426-1435) of the Ming dynasty, this elegant carinated bowl was designed to be used by the emperor, as evidenced by the five-clawed dragon motif in pursuit of flaming pearls. Painted with two underglaze colours, copper and cobalt, it is an exceptional piece in particularly fine condition, crafted in Jingdezhen.

Seeing Asia through a new lens

Imperial Treasures marks just one of four exciting exhibitions hosted by the Asia Society this season. In addition, Yang Fudong: Seven Intellectuals in a Bamboo Forest is also on view, while March will see the launch of video-focused Hiraki Sawa: Journeys in Place, and (Re)Generations: Rina Banerjee, Byron Kim, and Howardena Pindell, in which three contemporary artists reframe exceptional objects from the pre-modern art world.

“With these spring exhibitions, we wanted to give a fresh interpretation to our collection, whether through the perspective that Susan is bringing to Imperial Treasures, or by inviting modern-day artists to respond to it,” says Yasufumi Nakamori, Director of the Asia Society Museum. “At the Asia Society, we strive to present as diverse a range of Asian art as we can, including works by Asian diaspora artists and non-Asian artists influenced by Asian culture. By showcasing Asian art from multiple points in history and recontextualizing objects from the past in a new light, we can look at Asia from broader perspectives.”