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- the glaze, and the sancai (three colours) which is painted directly on the biscuit, being given an initial high firing without the glaze. In the wucai wares of the Kangxi period, an overglaze violet-blue frequently replaces the underglaze blue of the late Ming wucai wares. The dominating colour of these wares is a magnificent jewel-like green and they came to be known by its European admirers as famille verte [56-58, 64, xvm, xix]. The designs of many of these pieces show fine shading, skilful brushwork and were probably inspired by paintings. Some even show European painting perspective, which was of great interest to the Emperor. Famille verte enamelled ware gradually developed into the official enamel of the Kangxi era. Also associated with the famille verte enamels of this time are the doucai (contending colours) wares, which are decorated with the combination of soft underglaze blue and overglaze enamels in the tradition of the doucai porcelains of the reign of the Ming emperor Chenghua [73-75]. Examples include copies of the famous �chicken cups,� which have been regarded as precious possessions since the Ming dynasty [xx].
The sancai enamel-on-biscuit was mainly used for reproductions of complex shapes and figurines as it allowed more detail [68]. Also enamelled directly on the biscuit are the rare and once much sought after famille noire wares [59], whose exceptionally elegant polychrome floral decorations stand out from a background of rich brownish-black pigment of cobalt and manganese, and achieves the beauty and depth of lacquer by being washed over with a transparent green enamel.
Late in the reign of Kangxi, a new style of enamel dominated by a delicate rose pink made its first appearance. This rose pink enamel made from gold chloride was invented by Andreas Cassius of Leiden around 1650. It is known in Europe as famille rose and to the Chinese as yangcai (foreign colours). However, it was not until the reign of the following emperor that this rose pink became exceedingly popular virtually ousting the hitherto predominant famille verte.
The blue and white porcelain of Kangxi�s reign is in a class by itself. It owes the deep lustrous tone of its blue to the successful purification of native cobalt from all its impurities, which had frustrated earlier potters. Kangxi blue and white tends to have a pure white body, a clear thin glaze and magnificent sapphire blue designs. Floral motifs such as prunus, magnolia, lotus and peony
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