From this group of polychrome porcelain we pass to another in which the colour is given by washes of various glazes. A few of the high-fired glazes are employed for this purpose, especially blue in combination with celadon green and white, and a few clay slips, of which the commonest is a dressing of brown clay applied without any glaze and producing an iron-coloured surface. The most familiar members of this group are small Taoist figures of rough but vivacious modelling with draperies glazed blue, celadon and white,[296] and the base unglazed and slightly browned in the firing. Collectors are tempted to regard these figures as late or modern productions, but examples in the Dresden collection prove that this technique was employed in the K’ang Hsi period. In the same collection there are numbers of small toy figures, such as monkeys, oxen, grotesque human forms, etc., sometimes serving as whistles or as water-droppers. They are made of coarse porcelain or stoneware with a thin dressing of brown ferruginous clay, and touches of high-fired glazes. The appearance of these, too, is so modern that we realise with feelings of surprise that they formed part of the collection of Augustus the Strong. The polychrome porcelain coloured with glazes of the _demi-grand feu_ (i.e. glazes fired in the more temperate parts of the large kiln) has been discussed in the chapters on the Ming period.[297] The group characterised by green, turquoise and aubergine violet, semi-opaque, and minutely crackled is not conspicuous among K’ang Hsi porcelains; indeed it seems to have virtually ceased with the Ming dynasty. The individual colours, however, were still used as monochromes; in combination they are chiefly represented by aubergine violet and turquoise in broad washes on such objects as peach-shaped wine pots, Buddhist lions with joss-stick holders attached, parrots, and similar ornaments.