Besides green ware, another common glazed Chinese ceramic were the white porcelains from the Xing Kiln located in Hebei province created at the Tang dynasty. During this era, two major streams of ceramic production were the white porcelain from the Xing Kiln in the northern region and the green ware from the Yue Kiln in the southern region. Both green and white porcelains were commonly used in everyday life, unlike the "sancai" (three-coloured) pottery created at the same era, which contained lead and were only used as burial objects.

From Song to Ming dynasties, bronze mirrors did not have a fixed structure or decorative style. They were not necessarily circular, some even had handles. In addition to auspicious motifs, embellishments also included words of blessings. Unfortunately, the craftsmanship of most mirrors was not as advanced as that of previous generations. It was until the Qing dynasty when European missionaries introduced mercury mirrors, the reflections became clearer. As a result, the craftsmanship of bronze mirror had no other choice but to be phased out.

In the Han dynasty, the embellishment on the back of bronze mirrors underwent a transformation. The intricate style of the Warring States period began to fade away, giving rise to celestial motifs resembling the sun, moon, and stars. The raised circular dots represented various constellations. In addition, auspicious phrases were cast along the periphery of the mirror backs, denoting the brightness of the sun and moon, the clarity of the mind, and the potential for longevity in individuals.

During the Northern and Southern dynasties, green ceramics developed by adding brown spots on the body of the vessels as simple decorations. The Yue Kiln in Zhejiang province were the centre of green ware production from the Han dynasty to the Tang dynasty. A collection of high-quality green wares, indicated as "secret colour porcelain," was unearthed at the Famen Temple site in Xi’an. They are believed to be the most precious products of the Yue Kiln.

Under the influence of Buddhism and Daoism, the bronze mirrors of the Northern and Southern dynasties featured decorative motifs of religious deities. However, by the time of the Tang dynasty, the design of mirrors became more diversified. In addition to the traditional circular shape, square, sunflower-shaped, and rhombus-shaped mirrors emerged. The structure of the mirrors differed from previous generations as the mirror surfaces were enlarged. Furthermore, they became more silvery-white in colour, which enhanced the reflective quality. Influenced by the Central Asian artistic style, it became fashionable to decorate the mirrors respectively with symmetrical depiction of birds, fruits, and flowers. In addition, the motif of “sea creatures and grapes” was unique to Tang mirrors, reflecting the prevalent interest in overseas exchanges at that time.

Since the Shang dynasty, ancient people had already used bronze to make mirrors. The front of the mirror was plain, without any patterns, while the back was adorned with decorative motifs. Early bronze mirrors were mostly found in the historical remains of the Warring States period. They are circular in shape. However, due to process of long-time oxidation, they are now unable to reflect images. Finely crafted with distinctive features, the intricate patterns on the back of the mirrors include the intertwining “kui dragon” motif, quadrifoil motif, bear motif, and mountain character motif.