This paper aims to study, publish and examine a collection of new seven ceramic wares of the Museum of Niujie Mosque in Beijing, which have never been studied before. This collection dates back to the Ming-Qing periods. This study tries to explain the technical methods and raw materials of these pieces, as well as decorations, which were characterized by harmony, richness, and consistency between shape and content, also tries hard to understand the intellectual and symbolic aims of the Chinese Muslim artists. As well as exploring the political circumstances during that time, which certainly led to the emergence of this type of Chinese porcelain, and revealing the common features of Chinese Islamic ceramics. After reviewing the shapes, decorative patterns and scripts, it was concluded that the appearance of this type of porcelain is a result of the influence of local Islamic culture. In addition, it is a logical demand for the economic requirements, as large quantities of this type of porcelain were exported to the Islamic world. On the other hand, Chinese ceramics with Arabic scripts are evidence of Islamic heritage that was formalized by official kilns witch controlled by the Chinese court during the Ming and Qing periods. The study is a new value on Islamic arts in the Far East, and it also adds an important value in the field of Islamic arts.