Farfurie ornamentală ce prezintă găurele între buză și partea adâncită obținute prin ștanțare. Buza este vălurită și prezintă un contur de culoare verde. Registrul central are motive florale și geometrice: cercuri galbene și albastre ce încadrează motivele florale. La posterior, baza inelară perforată pentru atârnare. Cromatică: fond: alb; motive: verde; galben; albastru; negru.

The decoration employs flat areas of color—green, yellow, blue, and black—outlined in black to enhance definition. The scalloped edge and pierced holes were likely created through stamping or cutting, not hand-painting. The absence of shading or chiaroscuro reinforces a two-dimensional aesthetic, prioritizing clarity and pattern over illusionistic depth. Colors are applied with uniform intensity, contributing to the visual impact.

The object appears to belong to a regional ceramic tradition that valued perforated, suspended decoration, possibly from Eastern Europe or the Balkans. Its form and motifs suggest a late 19th- to early 20th-century origin, when folk art traditions were being documented or adapted for domestic or ceremonial use. No documented provenance is available, but similar pieces are found in ethnographic collections from the period.

This plate reflects a broader cultural practice of creating wall-hung decorative objects in rural and artisanal communities. Its geometric and floral motifs align with local textile and pottery traditions that used repetition and symbolic color. Unlike fine art ceramics, it was not produced for elite markets but likely for household or communal display, emphasizing function as ornament rather than utility.

As a preserved example of vernacular ceramic art, it contributes to the understanding of non-urban artistic practices in early modern Europe. Its preservation suggests it was valued as a cultural artifact, even if originally made for everyday use. Similar objects continue to inform contemporary studies of folk aesthetics and material culture, particularly in regions where such traditions were marginalized in mainstream art history.