Farfurie mare, adâncă, cu corp scund și buză lată, răsfrântă și muchia rotunjită înspre interior. Piesa este modelată la roata olarului, angobată cu humă albă pe fața interioară a acesteia. Decorul este realizat prin pictare cu pensula, cu linii groase, și constă în motive decorative florale și vegetale stilizate (flori și frunze), dispuse pe toată suprafața farfuriei. Central, pe fundul farfuriei, sub motivul decorativ floral (flori de lalele), se află înscris anul fabricării piesei, 1775. Cromatica decorului: alb, albastru. Farfuria este smălțuită pe interior, cu smalț transparent.

The decoration centers on stylized tulip flowers and leaves, arranged symmetrically across the interior surface. These motifs, common in Eastern European ceramic traditions, suggest an appreciation for natural forms adapted to decorative rhythm rather than botanical accuracy. The inclusion of the year 1775 in small script at the center indicates a deliberate marking of time, possibly for provenance or workshop identification, rather than commemorative intent.

The plate was formed on a wheel, then coated with white slip before being painted with opaque blue pigment using a brush. The thick, slightly irregular application of paint reveals the hand of the artisan, with visible brush marks and uneven pigment density. The use of only two colors—blue and white—on a pale yellowish ground reflects a restrained palette typical of regional ceramic workshops in the late 18th century.

Produced in 1775, the plate likely originated in a ceramic workshop in the Romanian cultural sphere, where slip-painted wares were commonly made for domestic use. The presence of a dated inscription suggests a level of workshop organization and record-keeping. Its survival into the modern era indicates it was preserved as a functional or perhaps sentimental object, rather than discarded after use.

This piece belongs to a broader tradition of folk ceramics in Eastern Europe, where floral patterns were adapted from textile and architectural ornamentation. Unlike courtly porcelain, such wares were utilitarian yet decorated with care, reflecting local aesthetics and available materials. The use of blue pigment, likely derived from cobalt, points to trade connections, as the material was often imported despite local production methods.

The plate exemplifies the quiet persistence of regional ceramic practices in the face of industrialization. Its handmade quality and modest decoration stand in contrast to later mass-produced wares, offering insight into pre-industrial craft values. Today, it serves as a material record of everyday life and artistic sensibility in 18th-century Eastern Europe, valued for its authenticity rather than rarity.