This paper discusses the specific forms and reasons of the different visual preferences of the combination of “plastic” and “painting” in the East and the West，taking a special kind of blue and white plastic Eight Immortals covered bowl popular from the late Ming Dynasty to the early Qing Dynasty as an example. The paper further explores how the Netherlands，as the main communicators of such objects in China and the West，promoted the popularity and acceptance of such objects with materialistic reflection，non—religious appreciation and enlightenment of natural science. Finally，this paper tries to discuss the reasons for the fact that such artifacts did not continue to breed new artistic vitality after entering Europe：For example，the economic fragility of the Dutch Republic led to the reality of temporary input，while the European ceramic centers such as Delft and Meissen lost interest in imitation and in—depth research of such artifacts，and the mastery of ceramic manufacturing technology in Europe gave local people a greater initiative in choosing the interests and styles.