The porcelain sculptures of China's Ming (1368–1644) and Qing (1644–1912) dynasties represent two pinnacles of ceramic artistry, yet they showcase distinct aesthetic philosophies and technical innovations. Ming Dynasty pieces are renowned for their restrained elegance, featuring monochromatic glazes like the celebrated "sweet white" and understated blue-and-white designs that emphasize purity of form. The Yongle and Xuande periods particularly excelled in creating Buddhist figures with serene expressions and flowing drapery carved in subtle relief.

Qing Dynasty artisans pushed boundaries with technical flamboyance, perfecting polychrome techniques like famille rose and famille verte that created vibrant pictorial effects. Kangxi period sculptures display unprecedented precision in miniature detailing, while Qianlong era pieces often incorporated Western influences and experimental glaze effects. The Qing approach favored decorative complexity, with imperial workshops producing elaborate figurines featuring gilding, enamel overlays, and intricate narrative scenes.

Material science reveals key differences: Ming porcelains used locally-sourced clay fired at extremely high temperatures (up to 1400°C), resulting in the famous "iron foot" unglazed bases. Qing craftsmen imported Jiangxi kaolin to create thinner, more translucent bodies capable of supporting heavier decoration. While Ming sculptures often served religious or ritual purposes, Qing pieces increasingly functioned as display objects for connoisseurship.

Collectors note Ming works command premium prices for their rarity and historical significance, whereas Qing pieces are valued for technical mastery. The National Palace Museum's collections demonstrate how Ming sculptures embody Neo-Confucian ideals of harmony, while Qing works reflect the multicultural cosmopolitanism of China's last imperial dynasty. Both periods continue to influence contemporary ceramic artists worldwide.