Farfurie semi-adâncă, cu buza dreaptă evazată; suprafața interioară este acoperită cu un strat de angobă albă, peste care este pictat cu cornul și cu pensula decorul format din motive florale și geometrice, dispuse astfel: registrul decorativ de pe fundul farfuriei conține, încadrat într-un cerc format dintr-o linie albastră dublă, un buchet desenat cu contur subțire maro, format dintr-o floare centrală de culoare maro, doi boboci galbeni la bază, o floare cu petale alungite, în partea superioară a buchetului și din frunze verzi. Registrul decorativ marginal de pe buza farfuriei, marcat de două linii circulare albastre, conține trei flori de lalea de culoare galbenă cu două frunze verzi, separate de câte un motiv format din șase linii maro subțiri, hașurate intersectat. Suprafața ornamentată a farfuriei este acoperită cu un strat de smalț transparent. Cromatica: alb, galben, verde, maro.

The decoration was applied using a comb and brush over a white slip layer, then covered with transparent glaze. Fine brown outlines define the floral forms, while yellow and green pigments fill the shapes. The rim’s border is framed by two concentric blue lines, separating the central scene from the marginal pattern. The precision of the lines and repetition of motifs indicate a standardized workshop technique, likely produced in a regional ceramic center.

The object originates from a tradition of folk ceramics in Eastern Europe, likely dating to the late 19th or early 20th century. Its wear and glaze deterioration suggest prolonged domestic use. It was likely collected by ethnographers or museums in the early 20th century as part of efforts to document rural material culture, now held in institutions such as the Museum of Ethnography.

This dish reflects a broader regional practice of decorated tableware in rural communities, where ceramics served both utilitarian and aesthetic roles. Similar vessels appear in collections from Romania and neighboring areas, often featuring floral and geometric patterns derived from local embroidery and textile designs. The use of slip and glaze indicates access to kiln technology, while the modest palette reflects locally available pigments.

Though no longer in active use, such objects preserve the visual language of pre-industrial domestic life. Their preservation in museum collections allows study of regional craftsmanship and symbolic expression. The faded decoration underscores the fragility of everyday artifacts, offering insight into how functional objects carried cultural meaning beyond utility.