Before Emperor Wendi and Emperor Jingdi in the Western Han Dynasty, the society was in the period of economic recovery, and the mirror casting technology did not develop much. Mirrors still follow the style of bronze mirrors in the Warring States period, with small mirrors, thin mirror walls, small strings, small buttons and flat patterns. Different from the bronze mirror in the Warring States period, the button seat of the Han mirror often has a week's inscription. After the "rule of Wenjing", especially after Emperor Wu of the Han Dynasty, the economy developed greatly. At this time, the bronze mirror casting reached its climax, the product quality improved and the quantity increased. Its mirror is gradually enlarged, the mirror wall is slightly thicker, the button is semicircular, and the pier thickness is smooth. Decorative patterns were directly influenced by silk paintings, murals and stone carvings at that time. In the Warring States period, the abstract decorative patterns of bronze mirrors no longer existed, but were replaced by novel grass leaf patterns and nebula patterns. It often appears on the back of the mirror in the form of painting and double hook lines, forming concentric multi-layer continuous patterns around the mirror buckle, and dividing the patterns into four equal parts by quartering to form symmetrical continuous circular patterns. From the perspective of subject matter, it has tended to be realistic, and its content is consistent with the saying that feathering is immortal and auspicious to ward off evil spirits circulated in society at that time. There are also strip inscriptions in this period, all of which are auspicious rhymes of blessing.
After Wang Mang established the new dynasty, the style of bronze mirror came down in one continuous line with that of the Western Han Dynasty, but it still developed. The content of decorative patterns is getting richer and richer, and the expression techniques are more delicate and neat than before. The composition pattern is divided into equal parts by milk nails and surrounded by concentric circles and multi-level stripes, which is quite stereoscopic and rhythmic. Sharp edge decoration is also very complicated. At this time, a gorgeous pattern mirror is popular, and the patterns are often interspersed with birds and animals such as Qinglong, White Tiger, Suzaku and Xuanwu. Ingenious composition, with the contrast between circle and square, forms a rotating, lively and beautiful pattern structure. The bronze mirror inscription, at this time, appeared twelve earthly branches and a long seven-character verse.
During the Eastern Han Dynasty, the bronze mirror technology showed the momentum of continuous innovation and improvement. Obviously, influenced by stone reliefs and bricks at that time, figures and animals on decorative patterns have become popular. In terms of techniques, objects are often represented by narrowing the horizon and high relief, and the effect is a vague silhouette. The appearance of animal patterns and portrait patterns is unprecedented. These portraits show Gu Zhuo's unrestrained artistic style with thick lines, large outlines and high exaggeration. At this time, the evolution law of bronze mirror inscriptions is close to written words, and the fonts are mostly mixed with Han Li in Biography.