The lavish, gem-encrusted goldwork of the Ming dynasty (1368–1644) represents a pinnacle of Chinese decorative arts, emerging concurrently with the seven maritime expeditions of Admiral Zheng He (1405–1433). While traditional research has treated the maritime history of the voyages and the art history of courtly gold as parallel but separate narratives, this study argues for their intrinsic interdependence. This study posits that Zheng He’s voyages acted as a direct and dynamic catalyst for the transformation of Ming imperial goldsmithing. This transformation was dual: first, an aesthetic revolution prompted by the influx of overseas gemstones, shifting the paradigm from the understated elegance of jade to vibrant polychromatic splendor; second, a technical synthesis facilitated by contact with Islamic traditions, leading to the refinement of indigenous filigree (huasi, fine wirework) and granulation techniques for mounting these new stones. Integrating historical texts, archaeological evidence from the Tomb of Prince Liangzhuang, and recent comparative studies of Indian Ocean trade, this paper traces the feedback loop between imported materials and adapted techniques. The findings challenge the view of Ming art as a self-contained tradition, demonstrating instead that the “imperial style” was a globalized product of cross-cultural exchange.