Farfurie mare, semi-adâncă, cu corp scund și buză lată, răsfrântă. Piesa este modelată la roata olarului, angobată cu humă albă pe fața interioară a acesteia. Decorul este realizat prin pictare cu pensula și cu cornul și constă în motive decorative florale și vegetale stilizate (flori și frunze), dispuse pe toată suprafața farfuriei, încadrate în trei registre separate de cercuri concentrice formate dintr-o linie verde și un șir continu de linii mici, paralele, incizate (cercuri localizate: central - pe fundul farfuriei; pe bordura interioară a buzei și pe muchia acesteia). Cromatica decorului: alb, albastru, verde. Farfuria este smălțuită pe interior, cu smalț transparent.

The vessel was thrown on a wheel and coated with white slip before being painted with pigments in blue, green, and white using both brush and horn implements. Incised lines, formed by fine parallel grooves, define the boundaries between decorative zones. The interior is glazed with a clear, thin layer, preserving the muted tones and subtle brushwork. The handcrafted texture and uneven application suggest artisanal production rather than industrial manufacture.

Though exact origins are undocumented, the form, slip technique, and decorative motifs align with ceramic traditions from the Balkans or Carpathian regions between the 15th and 18th centuries. Similar pieces have been found in archaeological contexts across Romania, Moldova, and Ukraine. The dish likely originated in a local workshop, serving domestic or communal use before entering private or institutional collections in the 20th century.

This dish belongs to a broader tradition of folk pottery in Southeastern Europe, where household ceramics were often decorated with abstracted natural forms rather than figural scenes. The use of limited pigments—blue, green, white—reflects local availability of mineral-based pigments and the influence of Ottoman and Byzantine ceramic aesthetics. Such wares were typically made for everyday use, not ceremonial display, yet carried cultural meaning through their ornamentation.

The dish exemplifies a regional ceramic idiom that persisted for centuries, blending utilitarian function with symbolic decoration. Its preservation in museum collections highlights the value placed on vernacular craftsmanship, offering insight into pre-industrial domestic life. Contemporary potters in the region still reference similar motifs, sustaining a visual lineage rooted in local materials and inherited techniques.