For those fortunate enough to attend New York Asia Week this past March, a special treat awaited at Asia Society - the opening of their new exhibition, ‘Imperial Treasures: Chinese Ceramics of the Yuan and Ming Dynasties from the Mr. and Mrs. John D. Rockefeller Collection’.

The Rockefeller Collection needs little introduction. Since the 1970s, Mr and Mrs John D. Rockefeller III have donated over 250 major Asian artworks to Asia Society. Many of these acquisitions were made under the discerning eye of renowned curator Sherman E. Lee. While the collection strongly emphasizes Chinese art, it spans an extraordinary geographical and chronological range, encompassing works from Japan, Korea, the Himalayan region, Southeast Asia, and South Asia, and covering over 4,000 years of history.

As the title suggests, ‘Imperial Treasures’ presents 25 highlight objects from China’s Yuan (1279–1368) and Ming (1368–1644) dynasty. All are drawn from the museum’s permanent collection, a curatorial decision championed by Asia Society Museum Director Yasufumi Nakamori and brought to life by curator Susan L. Beningson.

This exhibition reflects a broader post-pandemic trend among Western museums - the reinvigoration of permanent collections through fresh thematic lenses. Asia Society has a strong track record of organizing landmark exhibitions such as ‘Golden Visions of Densatil: A Tibetan Buddhist Monastery’ (2014) and ‘Kamakura: Realism and Spirituality in the Sculpture of Japan’ (2016). These shows blended Rockefeller collection pieces with loans from other institutions around the world. By contrast, ‘Imperial Treasures’ turns inward, yet without narrowing its scope.

Rather than telling a linear history of Chinese porcelain, the exhibition mirrors Asia Society’s own identity as a global platform that addresses interconnected issues across Asia and beyond. These ceramics are not viewed in isolation but within the broader context of trade and cultural exchange from the 13th to 17th centuries. China, the ‘Middle Kingdom’ was never a cultural island. Vast land and maritime trade routes connected it with Southeast Asia, Central Asia, and the Middle East.

The objects on display include examples from the imperial court, as well as tribute and trade pieces created for foreign markets. In true Rockefeller tradition, these ceramics - each remarkable in its own right - gain deeper meaning through their placement within transcultural narratives. They serve not only as artistic masterpieces, but also as enduring witnesses to centuries of interaction, diplomacy, and influence across regions.

Visitors arriving on the third floor are greeted by two major Ming dynasty porcelain wares. The first is a massive copper red chrysanthemum ‘three friends' guan jar from the Hongwu reign (1368–1398). Despite a slightly reduced flaring rim, its large size, vivid copper red glaze, and bold depictions of bamboo, pine, and plum blossom - the traditional ‘three friends of winter’ - make it a breathtaking introduction to the show.

Next to it stands a large wucai (five-colour) covered fish jar with a Jiajing reign mark (1522–1566) and of the period. This type of vividly enameled jar represents the pinnacle of late Ming coloured wares. Decorated with animated fish amongst marine plants - a favourite motif of the Daoist-leaning Jiajing emperor - the jar symbolizes an idealized mind’s state of happiness and freedom. Notably, similar jars have set records at auction, including a rare pair that appeared in London this past November.

Upon entering the exhibition gallery, visitors find a thoughtful and inclusive design: two central vitrines, positioned at a lower height to ensure accessibility for younger guests and those requiring assistance, feature a group of exquisite domestic imperial wares from the early to late 15th century. These include iconic styles from the Yongle, Xuande, Chenghua, and Zhengde reigns. The diversity of forms, glazes, and decorative motifs - ranging from florals to dragons -offers a rich visual history of evolving court tastes.

To the right of these vitrines is a group of monochrome wares and ceramics made for the Southeast Asian trade and Yuan-era markets. These highlight the importance of maritime trade routes - just as vital as the Silk Road - in bringing Chinese ceramics to global markets and shaping foreign perceptions of Chinese artistry.

Toward the back of the gallery is a selection of domestic Chinese porcelain from the 14th to 16th centuries, including monochromes and floral dishes rich in symbolic meaning. While aesthetically beautiful, these works also carry auspicious connotations including wishes for peace, prosperity, and longevity. These themes are all deeply rooted in Chinese culture. Several monochromes may have served ritualistic or ceremonial purposes, and together these pieces illustrate how Chinese porcelain was embedded in both daily and spiritual life.

Among the most iconic works on view in ‘Imperial Treasures’ is a large blue and white dish from the mid-14th century Yuan dynasty. Acquired in London from dealer John Sparks, this extremely rare dish, long a highlight of the Rockefeller Collection, depicts a dynamic mythical qilin galloping through a forest of rocks, florals, and melons. Its reverse bears an inscription linking it to the Mughal Emperor Shah Jahan (reigned 1628–1658), known for his appreciation of Chinese ceramics. The date inscribed corresponds to 1652–1653, suggesting the dish traveled along the Silk Road, eventually reaching India as a prized object of trade.

Running concurrently with ‘Imperial Treasures’ are several exhibitions on the lower floors of Asia Society focused on contemporary and modern art. One of particular interest is ‘(Re)Generations: Rina Banerjee, Byron Kim, and Howardena Pindell amid the Mr. and Mrs. John D. Rockefeller 3rd Collection’. This exhibition invites three leading contemporary artists of Asian descent to engage directly with the Rockefeller Collection, selecting historical works to display alongside their own. In addition to more historical Chinese art highlights, major objects from Japan, Korea, Tibet, India and Southeast Asia were also chosen. The result is a dynamic conversation between past and present, tradition and innovation, bridging centuries of artistic expression.

‘Imperial Treasures’ runs until 10 August. While it does not have an accompanying exhibition catalogue, many of the featured objects are published in the revised 2017 edition of Treasures of Asian Art: The Asia Society Museum Collection, celebrating the institution’s 60th anniversary. Copies are available in the museum bookstore.

Anthony Wu is an Asian art consultant and specialist based out of Toronto, Canada

Photos:

Image 1.

Installation view of ‘Imperial Treasures: Chinese Ceramics of the Yuan and Ming Dynasties from the Mr. and Mrs. John D. Rockefeller 3rd Collection’ on view at Asia Society

Photo © Bruce M. White 2025, courtesy Asia Society Museum.

Image 2

Installation view of ‘Imperial Treasures: Chinese Ceramics of the Yuan and Ming Dynasties from the Mr. and Mrs. John D. Rockefeller 3rd Collection’ on view at Asia Society

Image 3

Installation view of ‘Imperial Treasures: Chinese Ceramics of the Yuan and Ming Dynasties from the Mr. and Mrs. John D. Rockefeller 3rd Collection’ on view at Asia Society

Image 4

Platter

China, Yuan period, mid-14th century

Porcelain painted with underglaze cobalt blue (Jingdezhen ware)

H. 7.6 cm; Diam. 46.7 cm

Asia Society, New York: Mr. and Mrs. John D. Rockefeller 3rd Collection, 1979.151

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