In Europe from the end of the nineteenth century the fashion of Japonism had exploded, enchanted by the discovery of Japanese art that awakened new interests for the whole of the East. In no Milanese, Genoese or Venetian upper bourgeois living room was there a lack of Chinese or Japanese ceramics. The Guanyin is a fine example of that small white porcelain sculpture produced between the late seventeenth and early eighteenth centuries in the Dehua region of China and which in Europe, where it met with extraordinary success, was called Blanc de Chine. It depicts the divine figure of Buddhist origin sitting in the sacred position of the mudra: the royal rest.