The disappearance of Greenware during the latter part of the Warring States period (481-221BC), and its reappearance in a seemingly unrelated incarnation during the Western Han dynasty (206BC-9AD) has been put down to the disturbance of war at this time in the Wu-Yueh region.

More than ten Han dynasty kiln sites producing Yueh ware has been found in the Yuehzhou region alone, and the production of Yueh type wares is common throughout south China during the following centuries.

The new green pottery appearing in the Western Han dynasty has a much coarser, more sandy body than the wares of the Warring States period; it has a higher iron content so that unglazed portions are often burnt a brown color. Glaze generally covers only the top part of the vessel, and it is thought that this was done intentionally in order to prevent the thick glaze running onto the kiln furniture. Hu vessels and jars of flattened spherical form are the commonest types of this period, decorated with incised geometrical and bird motifs related to mystical and shamanistic beliefs of the Yueh and Chu cultures.

Jars become more spherical as we move into the Eastern Han period (25-220AD) and the Hu gains a flared lip. All-over impressed geometric patterns are a characteristic of the time.

By the Three Kingdoms era (220-265AD), a more even, creamy green glaze with a milky sheen appears which covers practically the whole vessel. Animal head motifs become common, protruding from jars, and decorating ring handles and hoof feet in molded high relief. Vessels based on ancient bronze prototypes such as tripod basins with bands of impressed decoration make an appearance, as do animal-shaped vessels, which become a staple of the Western Jin period (265-316AD). Another form which first makes an entrance at this time is the "granary" jar, which is thought to act as a "spirit" jar, facilitating the journey of the soul of the deceased into the celestial regions.

Animal imagery becomes widespread during the Western Jin period, whether in the form of rat handles on jars, or as the much sought-after lamps and jars in the shape of owls or bears or mythical beasts. Models of chicken coops, pigsties, goat-pens, beehives, and the like (which were made of lead glaze ware during the Han dynasty, and plain pottery during the Three Kingdoms period) become commonplace. Granary jars become more intricate, topped by a mass of birds and figurines on top of which sits a complex of buildings, thought to represent respectively the earthly and the celestial realms.

A famous form which develops through many variations right up until the Tang dynasty (618-907AD) is the "Chicken Hu". This vessel is thought to have a role in protecting the tomb against evil spirits. In the Three Kingdoms period, a chicken head and tail appeared on the shoulders of a spherical jar. During the Western Jin, the jar turns into a Hu with a dish-shaped mouth, which, unlike the Han dynasty Hu, has definite divisions between the body, the neck, and the mouth. During the Eastern Jin (317-420AD), the vessel gains square lugs and an arching handle which later acquires a dragon head, and the chicken head becomes a spout. Over the next few centuries, the spherical body gradually elongates as do the neck of the chicken spout and the neck of the vessel, taking the handle with it, until we reach the tall form with arching handle seen in the Sui period. This becomes the tall jar with double dragon handle of the Tang dynasty.

There is an abrupt change in the forms of Yueh ware as we enter the Eastern Jin era, possibly due to the influence of large numbers of Northerners moving into south China. The farm models and the granary jars all but disappear, as do most of the animal vessels, so that the repertoire becomes much more limited. One of the new forms is the segmental dish.

During the Southern Dynasties era (420-589AD), the glaze, which had become progressively more translucent during the preceding periods, achieved a stunning transparency where glass-like droplets gathered at the base of the vessel. A green of characteristic clarity suffused by a regular, attractive crackle renders the porcelain of this period the most beautiful yet produced in China. Pervasive Buddhist influence caused lotus petals to become a ubiquitous presence on cups, dishes, candelabra, ewers and jars.

During the Sui dynasty (581-618AD), continued Buddhist influence, coupled with trends from Central Asia, led to the production of wonderful oddities such as elephant headed Kundika, parrot ewers, and elephant candelabra.

The Tang dynasty saw the development of green glazes of creamy consistency, and of the legendary "Mise" or "Secret color" ware whose glaze was enhanced with crushed agate in order to increase its lustrous quality. Mise ware was made for the exclusive use of the court and its existence was confirmed by excavations carried out in the foundations of the Famen temple. This produced a cache of pieces presented to the monastery by the Tang emperor Yizong in 873, accompanied by a detailed inventory. It is celebrated in verse by the Tang poet Lu Kueimeng: "Yueh ware, clear as the autumn sky. Robs a thousand peaks of their verdant hue."

Manufacture of Mise ware of tribute quality continued at the Yueh kilns during the Five Dynasties period (907-960AD), along with less exalted Yueh wares which advanced with the development of forest-green glazes that heralded the famous Lungchuan wares of the Song dynasty (960-1279AD).

Although some Yueh pieces were made in the Song period, production at the Yueh kilns declined and finally ceased with the rise of the neighboring Lungchuan kilns, thus ending a thousand-year history of a justly famous ware.