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The visitor is welcomed into the central area on level 1 dedicated to Macau, a territory formerly under Portuguese administration and where the FundaA§A?o Oriente was founded in 1988.
A granite statue, a crude depiction of a Dutchman, recalls the failed attempt to conquer Macau by Holland in 1622.
A small set of designs and a charming painted miniature recall the extensive twenty seven year stay in Macau of the famous painter Georges Chinnery (1774-1852).
The role of Macau in international trade is extensively documented in the opposite section with highlights including the collection of porcelain bearing coats of arms laid out with the plates, dishes, terrines or jugs forming a dragon. Given the extent of the Chinese ceramics collection, covering the most diverse period and techniques, the exhibition documents the typological evolution of funereal terracotta works, with examples dating back to the Neolithic period and running through to the Ming dynasty, as well as ceramics and porcelain both for practical daily purposes and pieces made for export. The display further contains a small but significant set of bronzes in the majority deriving from the Camilo Pessanha Collection, some of them highly rare either due to their age or their artistic quality. Courtesy of the painting and costumes in the Pessanha Collection, it is possible to evoke the office and artistic tastes of a 19th century Chinese man of letters with all his a€?cherished itemsa€?, libation recipients, screens and folding screens, objects of devotion and the roles and albums of traditional Chinese painting and calligraphy in addition to their respective means of execution.
From the notable collection of Chinese snuff flasks built up by Manuel Teixeira Gomes, the second largest in Europe, there is a representative selection of existing different types. Concluding this section, there is a display of Korean pieces: a lacquered wooden box set with mother of pearl incrustations and an interesting set of watercolours from the late 19th century by the Korean artist Kim Jun-geun, known by his artistic name of Kisan, depicting the clothing, costumes and festivals of Korea and produced for European and American markets. Uma estA?tua em granito, representando toscamente um holandA?s, evoca a tentativa frustrada de conquista de Macau pelos Holandeses, em 1622.

The Museum of the Orient (Portuguese: Museu do Oriente) in Lisbon, Portugal celebrates the history of Portuguese exploration with a collection of Asian artifacts. Foi classificado como Monumento de interesse pA?blico (MIP) pelo IGESPAR em 15 de junho de 2010. Given the boundaries to the collection theme allusive to the Portuguese presence in Asia, an enormous effort was therefore put into conceptualising and staging a narrative that would serve to maximise its unquestionable values and offset any shortcomings.
The large exhibition area is dominated by the four magnificent Chinese folding screens belonging to the collection. This exhibition section also features a number of paintings and engravings from the period known as a€?China Tradea€? (18-19th centuries), both by Western and by Chinese artists.
This exponent of romantic Oriental landscapes left a sizeable legacy of urban, natural and human landscapes across the territory just as its final period of splendour as a key trading post between China and the West came to a close. Furthermore, there is a significant selection of examples of a€?China Tradea€? gouaches portraying the production and trade in tea and porcelain as well as Chinese fans so highly appreciated in the West. The seed remover and the bench are located in the daily world of working instruments while the bracelets, necklaces, insignias of power or circumcision knives project us into the worlds of ceremony and ritual and developed through the various types of mask present. A set of images, of various origins, and paintings in the Pessanha Collection provide a point of reference to the most erudite of Buddhist and Taoist artistic expression. The same level is reached with the Japanese collection of the same type: inrA? (small and portable personal containers), netzuke (to close the inrA? and mask shaped mostly with depictions of the leading characters from NA? Theatre) and tsuba (sword hand guards), covering a broad chronological period and which in the case of Japan are complemented by three monumental sets of armour and other ceramics, bronzes, painting and furniture.

The museum opened in May, 2008, and is located in a refurbished industrial building on the AlcA?ntara waterfront.
The oldest displays a Portuguese nau sailing the China Sea and flanked by another, essentially decorative in nature, bearing the coat of arms of the GonA§alves Zarco family and another inscribed with a€?do Coromandela€?, with interesting Christian iconography echoing the school of painting founded by the Jesuits in Japan and that later spread to Macau. On visits to Praia Grande or the sampans next to the A-MA? Temple, the artist captured surprising instants of daily life dominated by the presence of the Chinese population going about their affairs against a backdrop influenced by a nostalgic European presence. The various types of cloth woven by Timorese women illustrate the genealogical traditions within community while the decorative doors and panels of homes or votive statues takes us into the microcosm of Timorese homes with their succession of storeys a€” from ground level, home to animals and lesser spirits, up to the quarters of the living before rising to the area given over to the worship of ancestors. The collection includes Indonesian textiles, Japanese screens, antique snuff bottles, crucifixes made in Asia for Western export, and the Kwok On Collection of masks, costumes, and accessories. The fourth highly rare screen, displaying representations of the cities of Canton and Macau, is located next to the section dedicated to the iconography of the Cidade do Nome de Deus de Macau, with exhibits particularly focusing on the 17th and 18th centuries complemented by pieces from the 19th.

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