Artwork
Vas circular cu fund plat, întins cu marginea puțin ridicată, continuată cu buza ușor oblică. Fundul farfuriei este de culoare verde închis. Întreaga suprafață este ornamentată cu motive geometrice (semicercuri, liniare, punctate, zig-zag, cercuri). Smălțuit în interior, exteriorul are culoarea lutului ars. Cromatică: fond: verde; motive: alb; brun; galben.

Vas circular cu fund plat, întins cu marginea puțin ridicată, continuată cu buza ușor oblică. Fundul farfuriei este de culoare verde închis. Întreaga suprafață este ornamentată cu motive geometrice (semicercuri, liniare, punctate, zig-zag, cercuri). Smălțuit în interior, exteriorul are culoarea lutului ars. Cromatică: fond: verde; motive: alb; brun; galben. is a print by Ciungulescu Grigore. It is held in the collection of the ASTRA National Museum Complex. The object is a shallow, circular clay bowl with a modestly raised rim and a flat base.
About this work
Overview
The object is a shallow, circular clay bowl with a modestly raised rim and a flat base. Its interior is left unglazed, displaying the natural brown of fired earthenware, while the exterior rim bears a faint reddish‑brown tone typical of the clay body. The piece measures a few centimeters in diameter and is functional in form.
Technique & Style
The bowl’s surface is covered with painted geometric motifs applied in green, white, brown and yellow pigments. Designs include semicircles, linear bands, dotted lines, zig‑zag patterns and circles, likely executed with simple brushes or pointed tools before the final firing. The painted decoration contrasts with the unglazed interior, emphasizing the exterior as the visual focus.
Subject & Meaning
The geometric ornamentation follows a decorative tradition that emphasizes abstract pattern over representational imagery. Repeated shapes such as zig‑zags and semicircles may have conveyed symbolic or aesthetic values linked to local visual language, serving both to beautify a utilitarian object and to mark cultural identity.
Context
Such painted earthenware bowls are typical of regional pottery workshops where low‑tech production methods were combined with modest surface decoration. The use of a green ground with white geometric designs aligns with broader patterns observed in neighboring ceramic traditions, suggesting shared aesthetic conventions across communities.
Artist & collection
Artist
Grigore Ciungulescu spent his life in Oboga, a village where pottery wasn’t just a trade—it was a language.











