Obiectul are o formă tronconică cu baza mică în partea inferioară; pe spatele farfuriei se găsește o gaură pentru sfoara cu ajutorul căreia se atârnă pe perete. Piesa dispune de motive decorative vegetale, florale și geometrice realizate prin pictare, situate între două cercuri concentrice, unul la buza farfuriei, celălalt câțiva centrimetri mai jos; pe fundul farfuriei avem, de asemenea, motive decorative florale și vegetale. Motivele decorative (din partea superioară) reprezintă frunze, flori, "X"-uri și linii curbe asemănătoare acoladelor sau cârceilor de viță de vie, fiind pictate de jur-împrejurul suprafeței respective. Fundul farfuriei este decorat cu un trandafir mare cu frunze, plus alte două flori mai mici. Culoarea (fondul) piesei este albă iar pictura este realizată cu verde deschis, albastru, ocru, roz, galben și negru

The decoration is applied by hand using a limited palette of mineral-based pigments on a white slip ground. Lines are deliberate and fluid, with bold outlines and flat color fills, indicating skilled but unrefined craftsmanship. Motifs are arranged symmetrically within defined circular zones, creating rhythm without perspective. The absence of glaze and the visible brushwork point to a utilitarian yet carefully executed aesthetic, typical of regional folk pottery traditions.

The object likely originates from a rural household in Eastern Europe, where wall-hung ceramics were used to conserve space and display ornamentation in kitchens or living areas. Its construction and decoration align with 19th- to early 20th-century folk pottery practices in regions such as Romania or Moldova. No specific maker or date is recorded, but similar pieces are held in ethnographic collections, suggesting it was part of a broader local craft tradition.

Wall-mounted ceramic dishes like this were common in homes where storage space was limited and decorative items served dual roles as both ornament and functional ware. The choice of floral motifs reflects a widespread cultural preference for nature-inspired designs in domestic crafts. Unlike fine porcelain, this piece was made for daily use and modest display, embodying the aesthetic values of non-elite households rather than aristocratic or commercial production.

This object contributes to the understanding of vernacular ceramic traditions in Eastern Europe, where household items carried cultural meaning through pattern and form. Similar pieces are preserved in ethnographic museums, helping document regional craftsmanship before industrialization transformed domestic material culture. Its survival offers insight into how ordinary people expressed beauty through accessible materials and inherited design vocabularies.