Recipientul din lut are pântecul extins în zona mediană, cu gât îngust, cilindric. Acesta este prevăzut cu o toartă lată ce pornește din gât și se unește în zona diametrului maxim al corpului. Obiectul este angobat până aproape de fundul vasului, acesta rămânând cărămiziu. Ulciorul este decorat cu motive geometrice și vegetale, pictate cu smalț: zona mediană a vasului este marcată prin motivul valului punctat, încadrat de două linii circulare, verzi. Între acesta și baza gâtului, pe verticală, a fost pictat motivul braduțului, flancat de două spirale punctate. Pe fundul vasului, întâlnim o inscripție: ’’D. Schipou, C. Vladesti. 1980’’. Cromatică: fond: alb; cărămiziu; motive: maro; verde.

Decorative motifs include wavy lines marked with dots, stylized fir-tree patterns, and paired spirals, all arranged in horizontal and vertical bands. These geometric and vegetal elements reflect regional folk traditions, possibly symbolizing natural cycles or protective signs. The inscribed name and date indicate personal authorship, positioning the object as a signed work rather than anonymous craft, bridging folk practice with individual expression.

The vessel was hand-thrown and slip-coated, with decoration applied in matte pigments—brown and green—over the dried surface. Brushwork is uneven, with visible strokes and irregular dotting, suggesting hand-painted execution without molds or stencils. The lack of glaze on the base and the rough texture of the clay indicate a low-fired, non-industrial process, consistent with rural ceramic practices of the late 20th century.

Marked with the name D. Schipou and the year 1980, the piece is attributed to Dumitru Șchiopu, a Romanian ceramicist active in the late 20th century. It originates from Călărași, a region with a tradition of utilitarian pottery. The inscription confirms local production and personal authorship, situating the object within a network of regional artisans preserving folk techniques during a period of state-led cultural standardization.

Created in 1980, the vessel emerged during Romania’s communist era, when folk art was both promoted and controlled by state institutions. While many crafts were standardized for mass display, this piece retains individuality in form and decoration, suggesting private or semi-official production. Its motifs echo older rural designs, yet the signed attribution marks a shift toward recognizing the artisan as an individual creator.

The object stands as a modest example of late 20th-century Romanian ceramic practice, where traditional forms persisted alongside emerging personal expression. Dumitru Șchiopu’s signature on the base signals a quiet resistance to anonymous production, preserving a link between communal heritage and individual identity. Such works contribute to the documentation of regional craft under political constraints, offering insight into cultural continuity beyond official narratives.