Farfurie semi-adâncă, cu buza îngustă, verticală; fața interioară este acoperită cu un strat de angobă albă, peste care este pictat cu pensula decorul format dintr-un motiv floral stilizat (o floare cu patru petale mari, în formă de lacrimă, cu contur trasat cu o linie groasă de culoare maro, dublată de două linii albe) și motive geometrice: linii albe în formă de X, grupuri mici de linii curbe paralele și descrescătoare ca mărime, de culoare albă, roșu-cărămiziu și maro, pictate în interiorul petalelor. Între petale câte un cerc de culoare roșu-cărămiziu cu un punct central alb, sub care se desfășoară un șir de linii paralele descrescătoare ca mărime, de culoare albă. Cromatica: alb, maro, roșu-cărămiziu. Farfuria nu este smălțuită. Pe verso, farfuria are o inscripție realizată prin incizare: "Colibaba".

The decoration was applied with a brush over a white slip, using pigments in brown, reddish-brown, and white. The outlines are bold and deliberate, while the geometric patterns are rendered with precision despite their simplicity. The absence of glaze indicates a low-fired, utilitarian technique. Incised text on the reverse was made by scratching into the leather-hard clay, a common method for marking ownership or origin in pre-industrial ceramic production.

The plate originates from a rural ceramic tradition in Eastern Europe, likely produced in the 19th or early 20th century. Similar objects are held in the Museum of Ethnography, suggesting regional continuity in form and decoration. The incised name 'Colibaba' may denote the potter, a household, or a local custom. Its unglazed state and modest decoration point to domestic use rather than elite or ceremonial contexts.

This piece belongs to a broader category of folk pottery produced in village workshops across the Carpathian region. Such wares were made for everyday use, often decorated with motifs drawn from local flora, celestial symbols, or ancestral patterns. The use of slip and brush-painting, rather than glaze, reflects limited access to industrial materials. The persistence of similar designs across generations indicates strong cultural transmission within artisan communities.

Though not mass-produced or widely documented, this plate exemplifies the quiet persistence of regional ceramic practices. Its survival in museum collections underscores the value placed on vernacular craftsmanship. The incised name and painted motifs offer rare insight into individual identity within anonymous folk traditions, preserving a personal signature in an otherwise collective cultural practice.