Existing studies on cultural integration in Ming-Qing ceramics mostly proceed along single-line contexts such as China–Europe, China–Middle East/West Asia, or Europe–China, and often directly understand “the expansion of exchange” as “the strengthening of integration.” Taking Chinese samples as the main axis, this article places China, the Middle East/West Asia, and Europe within the same framework, adopts a comparative structure of “region × role × period,” and uses five artistic representations on ceramic products: theme, style, vessel form, patterns and motifs, and color, as a unified observational language to conduct quantitative and qualitative analysis of existing samples. The article argues that what occurred between the Ming and Qing dynasties was not simple continuous strengthening, but network reorganization: the input-output symmetrical integration relationship centered on the Middle East/West Asia in the Ming dynasty completely withdrew in the Qing dynasty, while the China-Europe direct axis rose and replaced the original hub structure. China’s long-term absorption of Islamic factors shows a special state: once cultural factors from a certain source have been deeply internalized, even if continuous input from the same source clearly declines, the relevant integration can still continue to exist within the local production system. This article summarizes this state as “source-specific saturation.”

Ziyang Xu. Network Reorganization of Cross-Regional Cultural Integration in Ming-Qing Ceramics: A Three-Region Comparison and Five-Dimensional Diagnosis. Frontiers in Art Research (2026), Vol. 8, Issue 2: 65-74. https://doi.org/10.25236/FAR.2026.080211.

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