Farfurie adâncă de tip castron, cu fund mic, corp tronconic, buză evazată și muchia buzei ridicată. Piesa este acoperită pe suprafața interioară și pe exteriorul muchiei buzei cu un strat de angobă albă, peste care este pictat cu pensula și cu cornul decorul format din motive florale și geometrice: fundul farfuriei conține o floare cu petale maro-roșcat și frunze verzi; alte două flori cu petale rotunde de culoare siena arsă, cu mijlocul format dintr-un punct albastru și cu frunze verzi, decorează buza farfuriei. Între cele două flori, sunt pictate două motive aproximativ identice formate dintr-o linie spiralată de culoare maro și un grup de puncte maro-închis, sugerând o frunză alungită. Suprafața ornamentată a farfuriei este acoperită cu un strat de smalț transparent. Cromatica: alb, verde, albastru, siena arsă, maro-închis, maro-roșcat.

Painting was executed with a brush and a hollow reed tool, known locally as a *corn*, allowing for fine, controlled lines. The palette—white slip, green, blue, burnt sienna, and dark brown—relies on mineral pigments available in the region. Motifs are hand-drawn with slight asymmetry, indicating artisanal, non-mechanical production. The layered application of slip and glaze demonstrates familiarity with ceramic finishing techniques common in rural workshops.

The plate originates from a tradition of domestic ceramic production in Eastern Europe, likely from the 18th to early 20th century. Similar pieces are held in the Museum of Ethnography, suggesting a regional pattern of form and decoration. Its modest scale and unglazed exterior indicate it was not made for elite markets but for household use, possibly in a village setting where pottery was locally fired and decorated.

This object belongs to a broader corpus of folk ceramics produced in agrarian communities, where functional ware was adorned with locally derived motifs. The use of natural pigments, repetitive floral patterns, and the absence of figural imagery align with regional practices that prioritized utility and symbolic continuity over novelty. Such items were often made by women in domestic settings, passing skills through generations without formal training.

Though not signed or dated, the plate contributes to the understanding of vernacular ceramic traditions in Eastern Europe. Its preservation in ethnographic collections highlights efforts to document everyday material culture. The persistence of similar forms and motifs in later 20th-century revivals underscores its role as a touchstone for regional identity, even as industrialization displaced traditional production methods.