As follows:

After the germination of Wei, Jin, Southern and Northern Dynasties, to the Sui and Tang Dynasties, the use of jade was more extensive, and the style of jade also changed. The "Wang Yu" representing the royal family still exists, but at the same time, the "civilian jade" representing street culture began to "fly into the homes of ordinary people".

From a macro point of view, jade was obviously secularized after the Tang Dynasty, and the mysterious atmosphere of ancient times disappeared. The Tang people broke away from the old system and boldly innovated, creating a new era in ornamentation and shape. Auspicious animals, fruits and flowers, dancing and playing music, and many decorative patterns full of meaning and life are common in jade articles of this period.

There are all kinds of furnishings and decorations. Carving, round carving, high bas-relief, and local fine intaglio carving, all kinds of finely carved and beautifully shaped jade articles deliberately show superb technology, and even the pattern design of utensils goes beyond the practical itself. In this way, jade's strong secular human touch can be seen.

By the Song Dynasty, the citizen class was more open, the cultural atmosphere was stronger, and jade articles were more widely used, and they were often made into daily necessities and stationery. The development of commodity economy in Song Dynasty accelerated the pace of secularization and commercialization of jade, and jade shops integrating jade processing and sales appeared in big cities such as Kaifeng and Hangzhou, and jade was further combined with citizens' life, resulting in many jade articles full of humanistic interest.

"Tokyo Dream" mentioned that "Pavilion and Sao are opposite each other in the north of the street, and Liang's Pearl Store" was a famous store specializing in jade jewelry at that time. Compared with the Song Dynasty, jade production in Liao and Jin Dynasties was also very common, and it was full of artistic flavor of ethnic minorities.

Nothing is more unique than autumn scenery, a popular spring scene in Liao and Jin Dynasties. Most of its image sculptures are fishing and hunting scenes of northern minorities, and the descriptions of such scenes as storks, tigers and deer and swans in the mountains reflect the political activities of the "four seasons" and have strong northern minority styles and artistic characteristics.