Islam reached China peacefully through the Silk Road in the 7th century CE. Nevertheless, the Yuan Dynasty is generally regarded as the distinct beginning of Islamic art in China. Entering a land deeply shaped by Confucianism, Daoism, and Buddhism, Islam encountered a cultural environment characterized by the long-standing Chinese tradition of assimilating foreign ideas through adaptation and Sinicization. Rather than remaining separate from local traditions, Islamic culture gradually interacted with Chinese artistic, religious, and philosophical values, producing distinctive artistic forms that combined Islamic identity with Chinese aesthetics. This process is evident in numerous artistic fields, including mosque and tomb architecture, Qur'anic calligraphy, calligraphic scrolls, metalwork, enamelware, and inscriptions on mosques and gravestones. Among these, porcelain represents one of the most remarkable media through which Islamic artistic traditions were expressed in China. Although the earliest examples appeared during the Yuan Dynasty, the production of Islamic porcelain reached its artistic and technical maturity during the Ming and Qing dynasties. During the Ming Dynasty, especially under the reign of Emperor Zhengde, imperial porcelain workshops at Jingdezhen produced numerous blue-and-white porcelains decorated with Arabic and Persian inscriptions. Historical evidence attributes this flourishing partly to the presence of a Muslim consort at the imperial court, the possible conversion of Emperor Zhengde to Islam mentioned in some historical sources, and the appointment of Muslim officials to supervise imperial porcelain production. In addition, the emperor's interest in foreign scripts and his encouragement of cultural exchanges with Islamic lands, particularly Iran, stimulated the incorporation of Islamic elements into imperial porcelain. At the same time, the growth of the Muslim population and improvements in their socio-economic conditions increased domestic demand for such objects, while exports to Islamic regions further encouraged their production. Although porcelain manufacture temporarily declined following the destruction of the Jingdezhen kilns during the late Ming period, production quickly recovered after the establishment of the Qing Dynasty with the reconstruction of the imperial kilns. The interaction between Islamic traditions and Chinese culture was reflected not only in the inscriptions but also in the visual language of these ceramic objects. As Muslims increasingly became integrated into Chinese society through the Sinicization policies of the Ming and Qing governments, Chinese artistic conventions, decorative vocabulary, and symbolic concepts were incorporated into Islamic ceramics. Consequently, these objects represent a unique synthesis of Islamic religious expression and Chinese artistic heritage, making them significantly different from contemporary ceramics produced elsewhere in the Islamic world. With the aim of identifying the formal and semantic characteristics of Islamic ceramic inscriptions as well as the origins and symbolic meanings of their decorative motifs, this study examines selected examples from the Ming and Qing dynasties. The importance and necessity of research in revealing the formal and semantic components of inscriptions and decorative motifs of Islamic ceramics in the two historical periods of Ming and Qing in China as a land distinct from other parts of the Islamic world with a non-Islamic cultural and religious background and the dominant stream of Taoist, Buddhist and school religions Confucianism results.In the current research, in order to understand Islamic ceramics in the two historical periods mentioned, motifs and inscriptions of a number of ceramic objects have been taken into consideration. For the purpose of analyzing the themes and form of the calligraphic inscriptions as well as the motifs used in the decorations, their origin and symbolic meaning, the proposed questions are as follows: 1- What are the form and content characteristics of the inscriptions on Islamic ceramic objects of the Ming and Qing eras? 2- What motifs are used in the decoration of Islamic ceramic objects of the Ming and Qing eras, and what are their origins and symbolic meanings? The descriptive-analytical research method is used with a historical approach. The statistical population is Chinese Islamic ceramic objects in the Ming and Qing eras, and the sampling method is through the study of museums and personal collections. The number of samples is 14, including 8 samples from the Ming era and 6 samples from the Qing era; The index in the selection of samples is to consider criteria such as the coverage of all types of ceramics with existing applications and forms, as well as the presence of sufficient images of the samples for the reading of the inscriptions by the authors, or the existence of the original text (and not the English equivalent) or Chinese inscriptions.The way of working in this research is that the samples are classified and introduced in two tables based on the time period of the Qing and Ming eras, and at the same time, its decorative motifs are described and the inscriptions are read along with their meanings and themes are done. Then the inscriptions and motifs are analyzed separately. The method of data analysis is qualitative.The importance and necessity of research in revealing the formal and semantic components of inscriptions and decorative motifs of Islamic ceramics in the two historical periods of Ming and Qing in China as a land distinct from other parts of the Islamic world with a non-Islamic cultural and religious background and the dominant stream of Taoist, Buddhist and school religions Confucianism results.The results of this research indicate that the inscriptions on these objects are in Arabic and Persian, with Chinese script, and express the principles of monotheism and prophecy, praise and expression of God's attributes, prayers, short instructive sentences, and also express the function of the desired object. Also, the motifs used in decorations mainly include plant motifs, elements of nature, geometric shapes and key and cover patterns with the predominance of surface motifs, which are derived from Chinese traditions, especially the religions of Taoism, Buddhism and Confucian teachings, and meanings such as immortality. , long life, immortality, abundance of blessings, fertility, love, male and female sexual forces, strength, purity, happiness, comfort and well-being, good fortune, success and victory, knowledge and wisdom, balance and perfection and include all four seasons. Inscriptions are the only elements that give Islamic identity to these objects.