The Song dynasty Yaozhou kiln in Shaanxi was once referred to as the "Northern Longquan", presumably rising along with the celadon trend. However, the colours of their porcelains were not similar to Longquan kiln's green, but leaned towards olive green. Their products included bowls, plates, and bottles. The decorations included carving and stamping, with stamping being the most abundant, including children’s patterns and modelled flowers and birds.

By the time of the Song dynasty, the Yue Kiln from the Tang dynasty had declined, and it was replaced by the Longquan Kiln also originating from Zhejiang. The Song people had a fondness for antiquity, particularly the bronze artefacts of Shang and Zhou dynasties which had a greenish-blue hue. In response, the Longquan Kiln produced a lot of green-glazed ceramics to suit their tastes. Among them, the most notable glaze produced was the "plum green." In terms of decoration, the design was relatively simple, with lotus petal patterns often seen on bowls and plates. However, an interesting design of the vessels could be a double fish relief motif stamped inside at the center, creating a unique look of swimming fish.

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.

Longquan kiln's porcelain is famous far and wide, with Europeans once used the name of the theatrical character Celadon to describe their products. Since the Song dynasty, there had been a type of porcelain with a white glaze and irregular crackle patterns on top. These crackles are the most prominent feature. They did not indicate cracks in the body, but rather impurities in the glaze that cause crackling to appear in the fired glaze. It is said that Longquan kiln was divided into two branches, with "Di kiln" producing celadon products, while the white glaze crackle porcelain came from the "Ge kiln."

The Xing Kiln, which emerged during the Tang dynasty, remained active until the Song dynasty when they were gradually replaced by the Ding Kiln, which also located in Hebei province, as the primary centre for white porcelain production. In traditional ceramic techniques, the bottoms of bowls and plates were left unglazed to prevent the glaze from sticking to the kiln surface. To overcome this limitation, the potters at the Ding Kiln modified the firing process. Instead of the traditional method where the wares were placed upright and firing on the foot, they flipped over the wares and firing on the mouth. This method enabled the foot of the ceramics to be glazed while keeping the rims unglazed, creating what is known as the "mangkou" or raw mouth style. However, the mangkou style also had its drawbacks, leading the potters of Ding kilns added metal protective rings around the rims, giving the ceramics a more precious appearance. Nevertheless, this increased the production cost, presenting a disadvantage. As a result, other kilns did not adopt the same glazing method. Firing on the mouth became a unique characteristic of the ceramic of Ding Kiln. The decoration of Ding Kiln ceramics involved engraving and stamping techniques, the designs went beyond simple plain surfaces, displaying a distinct taste for aesthetics.

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.