Abstract: The Ottoman Empire, capitalizing on its geopolitical advantages, emerged as a pivotal center for East-West trade and reached its zenith in the 16^th century. A substantial volume of Chinese porcelain was entered into the empire via the Silk Road trade network and collected by the Sultan's royal household. This influx inspired local craftsmen to redecorate these porcelains using a unique gem inlay technique. Today, these gem-inlaid porcelains, accounting for about 3% of the Chinese porcelain collection in Topkapi Palace Museum in Turkey, are typical examples of cultural symbiosis and aesthetic reconstruction within civilizational exchanges, which provieds a valuable empirical sample for "Belt and Road" historical research. This study focuses on 273 gem-inlaid porcelains from the Topkapi Palace Museum, employing observational method, along with historical literature review and iconographic studies.It analyzes the acquisition routes, craft aesthetics (including material features, decorative patterns, and inlay methods), and the reasons for redecoration. The aim is to explore the technical modifications, cultural translation logic, and social functions of Chinese porcelain by Ottoman craftsmen. The research reveals that Ottoman craftsmen utillized the "mesh covering method" and "star-like dotting method" for gem inlay, transforming the Chinese porcelain into imperial treasures integrating Islamic art elements. This process facilitated the functional localization (e.g. converting wine vessels into ablution utensils) and the reconstruction of cultural symbols (e.g. the symbolic meaning of tulip-patterned metal plates).Additionally, the study also differentiates between gem inlay and mounting techniques. The transformation of Chinese porcelain by Ottoman craftsmen not only enhanced the practicality and artistry of the objects but also provided a new perspective for studying the phenomenon of "cultural symbiosis and aesthetic reconstruction" in Sino-Western exchanges.