Pillow in the shape of an infant boy (清 翡翠孩儿枕). Chinese, Qing dynasty (1644–1911), 18th–19th century. Jade (jadeite). The Metropolitan Museum of Art, New York, Gift of Heber R. Bishop, 1902

This summer showcases remarkable Asian works of art at The Metropolitan Museum of Art. There is still time to catch two exceptional exhibitions before they close June 28 — A Passion for Jade: The Bishop Collection and Embracing Color: Enamel in Chinese Decorative Arts, 1300–1900. And just one day earlier, on June 27, the Met opens City of Memory: Nanjing in the Seventeenth Century, offering a rare window into one of China’s most historically rich and culturally vibrant cities. Plan your visit soon!

A Passion for Jade: The Bishop Collection
Closing Sunday, June 28, 2026

More than 100 remarkable objects from the Heber R. Bishop collection, especially carvings of jade, the most esteemed stone in China, and many other hardstones, are on view in this focused presentation. These refined works represent the sophisticated art of Chinese gemstone carvers during the Qing dynasty (1644–1911) as well as the highly accomplished skills of Mogul Indian (1526–1857) craftsmen, who provided an exotic inspiration to their counterparts. Also on view are a set of stone-working tools and illustrations of jade workshops, which introduce the traditional method of working jade.

The exhibition is made possible by the Florence and Herbert Irving Fund for Asian Art Exhibitions.

To learn more, click here.

Bottle with lotuses, China, late 15th century. Porcelain with raised slip and enamels (Jingdezhen fahua ware), H. 14 1/2 in. (36.8 cm); Diam. 7 1/8 in. (18.1 cm). Bequest of John D. Rockefeller Jr., 1960.

Embracing Color: Enamel in Chinese Decorative Arts, 1300-1900
Closing Sunday, June 28, 2026

Enamel decoration is a significant element of Chinese decorative arts that has long been overlooked. This exhibition reveals the aesthetic, technical, and cultural achievement of Chinese enamel wares by demonstrating the transformative role of enamel during the Ming (1368–1644) and Qing (1644–1911) dynasties. The first transformational moment occurred in the late 14th to 15th century, when the introduction of cloisonné enamel from the West, along with the development of porcelain with overglaze enamels, led to a shift away from a monochromatic palette to colorful works. The second transformation occurred in the late 17th to 18th century, when European enameling materials and techniques were brought to the Qing court and more subtle and varied color tones were developed on enamels applied over porcelain, metal, glass, and other mediums. In both moments, Chinese artists did not simply adopt or copy foreign techniques; they actively created new colors and styles that reflected their own taste. The more than 100 objects on view are drawn mainly from The Met collection.

This exhibition is made possible by the Florence and Herbert Irving Fund for Asian Art Exhibitions.

To learn more, click here.  

Tao Hong (Chinese, active ca. 1610–1640s), Riverside village, 1638. One leaf from an album of seven leaves. Image: 9 3/4 × 10 1/2 in. Promised gift of Julia and John Curtis.

City of Memory: Nanjing in the Seventeenth Century
Opening Saturday, June 27, 2026 – January 3, 2027

Throughout Chinese history, the city of Nanjing served as the capital of multiple dynasties. Each time a dynasty was overthrown, it left behind another layer of cultural memory, creating an atmosphere in which artists found themselves surrounded by the past. Material traces of history—temples, city walls, ancient trees—blended with less tangible remains, such as views that had inspired famous artists and poetic verses they had written. In 1644, the Ming dynasty was violently overthrown, and the Qing took its place. A new layer of reminiscence was added, sparking feelings of loss and nostalgia, as the people of Nanjing saw their world shattered and another dynasty—their own—consigned to the realm of history.

City of Memory: Nanjing in the Seventeenth Century explores how artists lived and worked in this charged environment in the decades before and after the fall of the Ming dynasty. Through a selection of about 100 objects, mostly from The Met collection, the exhibition illuminates both the city’s lore and complex history as well as the evolution of Nanjing painting from the 1640s to the 1680s, introducing key figures, genres, and styles. Artworks donated to The Met by Julia and John Curtis have inspired and enriched this exhibition.

The exhibition is made possible by the Joseph Hotung Fund.

To learn more, click here.