Japanese pottery and porcelain were able to export enormous quantities of porcelain to Europe and Asia. Gradually the Chinese kilns recovered, and developed their own styles of the highly coloured enamelled wares that Europeans found so attractive, including famille rose, famille verte and the rest of that group. From about 1720 Chinese and European kilns also began to imitate the Imari enamelled style at the lower end of the market, and by about 1740 the first period of Japanese export porcelain had all but ceased. The Arita kilns also supplied domestic utensils such as the so-called Ko-Kutani enamelware. Porcelain was also exported to China,
Biscuit porcelain by giving them a temporary coating of wax or something similar to keep the glaze off; this is a fairly common feature of Longquan celadon (which is porcelain in Chinese terms), and also found in Ming dragons. Some Chinese pieces are described as "porcelain with polychrome enamels on the biscuit" - that is, using the normal "overglaze" technique on biscuit, but with no actual glaze, often a revivalist style evoking earlier sancai wares (which were not in porcelain). The laborious and mostly 19th-century pâte-sur-pâte technique often uses biscuit for at least one of the colours. Biscuit porcelain Biscuit porcelain, bisque