"By focusing on underrepresented, or maybe even in certain parts, neglected areas of outstanding artistic achievements and artistry, we are not only sharing something new, but are making sure that this art gets the proper acknowledgment it deserves," says Max Hollein, director and CEO of The Met, at the opening of the exhibition in Shanghai.

The exhibition is arranged in four thematic parts. The first begins with imperial bronzes from the reign of two emperors, Huizong of Song and Emperor Qianlong of Qing, who were influential reformers of the ritual system. It then moves on to objects used in memorial ceremonies for ancient sages in local counties and sacrificial rites at ancestral clan temples.

A series of bronze bells is highlighted in this part. Four belonged to a set of ritual musical instruments, originally named Dasheng, that were cast at the order of Huizong in 1105, following the style of the Spring and Autumn Period (770-476 BC).

The ancient Bell of Zhejian, made in the same period, is displayed alongside an archaistic ritual bell called "Gu Xi", which was made in 1761. The Bell of Zhejian comes from the Shanghai Museum, and Gu Xi from The Met's collection. Together, they tell of the evolution of ritualistic bells in China's imperial history spanning millennia.

The second part explores how the popularity of "retro" led to the commercialization of bronze production from the Southern Song (1127-1279) to Ming dynasties. Master artisans emerged in this period, creating vessel forms that combined ancient aesthetics with new functions, such as censers, vases and ewers.

Part three features the Yongle-Xuande gilt-bronze statuary and Xuande censers. Recognized as outstanding representatives of Ming-Dynasty arts and crafts, these artifacts have had a profound and far-reaching influence on later ages.