Large quantities arrived in Europe as Chinese export porcelain in the early 18th century and it was copied at Meissen and elsewhere.

The special characteristic of Dehua porcelain is the very small amount of iron oxide in it, allowing it to be fired in an oxidising atmosphere to a warm white or pale ivory color.

[3] Crisply modeled figures with a smooth white glaze were popular as were joss-stick holders, brush pots, Dogs of Fo, libation cups and boxes.

Precise dating of blanc de Chine of the Ming and Qing (1644–1911) dynasties is often difficult because the conservatism of the Dehua potters led them to produce similar pieces for decades or even for centuries.

Notable artists in blanc de Chine, such as the late Ming period He Chaozong, signed their creations with their seals.

[5] Many of the best examples of blanc de Chine can also be found in Japan where they are used in family altars (butsudan) and other funerary and religious uses.

The British Museum in London has a large number of blanc de Chine pieces, having received the entire collection of P.J.Donnelly as a gift in 1980.

[citation needed] The Japanese knew of the existence of the Fujian province kilns and their porcelain, now known as Dehua or Blanc de Chine ware.

An association with funerals and the dead has perhaps led to a disinterest in this ware among present day Japanese, despite a strong interest in other aspects of Chinese ceramic culture and history.

Such figurines were known as Maria Kannon or “Blessed Virgin Goddesses of Mercy” and were part of the “hidden Christian” culture of Tokugawa Japan which had strictly banned the religion.