A Han Dynasty pottery horse burial object, made of coarse sand red pottery, mold-cast. The horse is depicted with mouth open, tongue protruding, and winged nostrils. It bears a saddle on its back and stands in a poised stance with front hooves lightly touching the ground. Modeled according to the standard Han horse style and finely sculpted, its spirit, energy, and expression are fully captured. This piece is a masterpiece among Han pottery horses.

Longshan Culture is mainly distributed in the lower Yellow River and Huai River regions. It represents an archaeological culture of the late Neolithic period in China, dating approximately 4600–4000 years ago. Because similar remains from this period in Henan, Hebei, Shanxi, Shaanxi, and other provinces are also referred to as Longshan Culture, the Longshan Culture of the lower Yellow River and Huai River region is further designated as Typical Longshan Culture or Haidai Longshan Culture. Eggshell black pottery is the signature product of Haidai Longshan Culture. Its glossy black appearance, refined shape, thin and light body, and exquisite craftsmanship are truly breathtaking.

Lu Yunshan (male, 1901–1974), a native of Fengcheng, Jiangxi Province, was a master of Chinese ceramic art. He endowed the new color decoration of ceramics with fresh vitality. He excelled at freehand bird-and-flower painting, particularly skilled at painting pines, cranes, and plum blossoms, and innovated in technique—often using different types of abrasive paper to rub away colors on the porcelain surface to achieve specific effects. His traditional Chinese painting focused on fine brushwork, demonstrating profound skill.

Yue ware is a famous ancient southern Chinese celadon kiln and one of the treasures of traditional Chinese ceramic craftsmanship. The kiln sites are mainly located in Yuezhou (present-day Ningbo and Shaoxing, Zhejiang Province). Production spanned from the Eastern Han dynasty to the Song dynasty. The Tang dynasty marked the peak of Yue ware craftsmanship, ranking first in the country. The name "Yue ware" first appeared in the Tang dynasty. Yue celadon had a close relationship with the tea-drinking culture of the Tang dynasty; its ceramic forms and the beauty of its glaze were deeply loved by tea drinkers. The tea culture, in turn, influenced the shapes of Yue celadon wares.

This celadon bixie resembles a lion but has wings, depicted crouching with head raised. The body is carved and appliquéd with beard, mane, and tail. On its back is a tubular spout. The entire body is covered with a celadon glaze. The form is vivid, the glaze smooth and lustrous, the body hard, and the degree of vitrification high. It is an outstanding piece of Western Jin celadon.

Qing dynasty imitation Guan ware objects were approved by the emperor, using Song dynasty Guan ware (official kiln) vessels from the imperial collection as models. They were copied and fired at the imperial kiln in Jingdezhen under the direction of the Superintendent of Porcelain. The glaze colors come in three tones: pale celadon, grayish-celadon, and rice-yellow, with pale celadon considered the standard color. The glaze is thick, featuring crackles known as "golden threads and iron wires," as well as "purple mouth and iron foot," and the grayish-celadon glaze surface is dotted with large vertical crackles.

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Bi Yuanming (1907–1991), also known by his studio name Zhile Laoren (Old Man of Supreme Joy), was a native of Yixian County, Anhui Province. From a young age, he inherited his family's learning and his father's artistic skills. He excelled in seal carving, poetry, calligraphy, and painting, and was particularly accomplished in ceramic fencai (powder color) painting of birds, landscapes, figures, and animals. He was especially renowned for painting tigers, earning the nickname "Bi the Tiger," and enjoyed great fame both in China and abroad. Bi Yuanming was a member of the Chinese Calligraphers Association, the Chinese Artists Association, a committee member of the Provincial Federation of Literary and Art Circles, an advisor to the Jiangxi Artists Association, and an advisor to the Jingdezhen Academy of Calligraphy and Painting. In 1959, he was among the first group of artists awarded the title of Ceramic Artist by the Jingdezhen Municipal Government.

Li Mingliang, a master of Chinese ceramic art and a porcelain plaque painter from the Republic of China period, was a native of southern Anhui Province. His painting style is elegant, refined, and tasteful. He excelled particularly in fencai porcelain painting, with subjects often including insects, flowers, and small vignettes—meaningful, enduring, and transcendently tasteful. At a time when Jingdezhen's porcelain painting styles commonly featured figures, landscapes, birds, and flowers, Li's unique approach stood out as truly refreshing. He is regarded as one of the "Eight Little Friends of Zhushan" (Pearl Mountain) for his exceptional skill.

A Meizi Qing (plum-green) Longquan kiln octagonal cup. The form is regular and solid, with exceptionally thick glaze, lustrous and jade-like. It has an octagonal flared mouth, a tall stem foot, and the unglazed base shows flint-red (huoshihong).

The characteristics of Song dynasty Longquan ware are tall forms and heavy bodies. This large plate, with a diameter of 35 cm, is well-proportioned and free from distortion. The successful firing of such large pieces marked a new achievement in ceramic technology. Longquan celadon was typically decorated with patterns, using techniques such as incising, carving, stamping, appliqué, openwork, and stacking. Among these, stamping, appliqué, and openwork were new developments of this period. Appliqué decoration is often found on large vessels, in both glaze-covered and unglazed (reserved) types. The design on this plate features the highly popular cloud-and-dragon pattern of the time.

The Qili Town Kiln (Qilizhen Kiln) began firing in the late Tang dynasty, flourished during the Song and Yuan dynasties, and ceased production in the mid-Ming dynasty. Its products mainly included celadon and white porcelain of the late Tang and Five Dynasties period, as well as bluish-white (qingbai) ware, brown-glazed ware, and black-glazed ware from the Song and Yuan periods. It was one of the four famous kilns of Jiangxi Province during the Song and Yuan dynasties. The main ceramic types include Five Dynasties celadon, early Northern Song milky-white porcelain, Northern Song to Southern Song bluish-white and brown-glazed ware, and Southern Song to Yuan black-glazed ware.

The celestial warrior figurine is a component of Tang dynasty funerary practices, serving to guard the tomb. On the warrior's head perches a bird with wings spread as if about to take flight. The warrior's brows are tightly knitted, eyes wide open, mouth agape with teeth visible. One hand rests on the hip, the other is raised in a fist. He wears a "mingguang" (shining light) armor, with dragon-head shoulder guards. A belly guard protects the abdomen; a belt is tied at the waist with a knee-length skirt hanging down, and leggings are bound below. The right leg stands straight, while the left knee is slightly bent, stepping onto a crouching ox. Beneath the ox is a mountain-shaped base. The figurine is predominantly glazed in green, brown, and white, with bright and lustrous colors.

Plum-green glazed porcelain originated at the Longquan kilns during the Southern Song dynasty and was the most beloved celadon glaze of the Southern Song people. This ware is called "plum-green" because its glaze is lustrous and jade-like, thick and translucent, resembling plums hanging from tree branches when viewed from a distance.

This group of more than twenty glazed tiles (liuli zhuan) are surviving components from the Glazed Pagoda of Nanjing Bao'en Temple before it was completely destroyed in warfare. They quietly display the former splendor of the pagoda. These four tiles come in two pairs. The blue-green relief cloud patterns and lifelike golden dragons demonstrate the superb skill of the imperial artisans. Wang Xingping, Honorary Director of the Nanjing Bao'en Temple Site Museum and Secretary-General of the Ancient Ceramics Society of China, explains that although called "glazed tiles," they are more accurately described as architectural ceramics with a glazed surface. "The green, yellow, black, red, and white colors on these dragon tiles auspiciously signify beauty and good fortune in Buddhism, while as imperial architecture, they also reflect a high-standard ritual system. Behind each of these artifacts lies a hidden history, deeply imbued with Western Regions exoticism, serving as evidence of ancient exchanges between China and other regions via the Silk Road. The Bao'en Temple pagoda was renowned worldwide, recognized for its supreme glazed ceramic and glazed architectural craftsmanship, and was universally acclaimed as a 'Wonder of the World' by the West."