In the wake of burgeoning trade between East and West in the 16^th century, China’s ceramics, silk, tea, furniture, lacquerware, fans, screens, embroidery, wallpaper, ivory engraving, silverware, and other works of art and handicraft made their way gradually into Europe. They were particularly coveted by European royal families, the aristocracy, and wealthy members of the upper class. Reaching its apex in the 18^th century, an “Easterly wind” swept over Europe, spreading through the realms of home decor, landscape design, daily life, and more. In the midst of the Western pursuit of Eastern art, Chinese ceramics were time and again the commodity that most infatuated the royalty and nobility of the West.

In addition to traditional Chinese patterns and vessel shapes, the Chinese porcelain exported to the West at the time also catered to the Western demand for made-to-order design motifs and the participatory designs of Western artists. Even armorial wares incorporated the insignias of Europe's noble families. Armorial porcelain, as it was sometimes called, showed the “Mandarin”, imagery of Chinese officials in a foreigner’s eye never seen on those from official kilns. Though not as painstakingly meticulous as those produced by official kilns, civilian kiln wares with their rich and exquisite themes embodied a trend toward Ming and Qing artistic style and craftsmanship, reflecting a dialogue and collision of different ethnicities and cultures, presenting an abundance of Eastern and Western cultural aspects.

This exhibition focuses primarily on four types of porcelain ware: blue and white porcelain, Chinese Imari ware, wucai (polychrome) porcelain, and famille rose porcelain, a collection comprising of the quintessence of three periods—Kangxi, Yongzheng, and Qianlong. Over one hundred export porcelain works are displayed in “The History of Export Porcelain”, “Chinese Iwari Porcelain”, “Wucai Porcelain of the Kangxi Period”, “Famille Rose Porcelain of the Yongzheng and Qianlong Periods”, “Western Design in Export Porcelain”, “Encounters between Silver and Porcelain” exhibit sections. From the incomparable cultural implications borne upon this collection of porcelain objects, we can appreciate not only the beauty of vivid patterns on and shapes of the blue and white porcelain and wucai porcelain, but also the fascinating blend of Eastern and Western cultures.