Vasul este de formă tronconică fiind smălțuit interior-exterior. Este confecționat din faianță Decorul este format din motive florale pictate pe fond alb; gura este decorată în stropi de culoare vișinie iar baza farfuriei este decorată cu motive florale. Se identifică șapte flori alcătuind motivul decorativ pe baza farfuriei. Pe spate inscripția este indescifrabilă. Cromatică: galben; albastru; verde; vișiniu; alb;

The plate was formed from molded faience and coated with a transparent glaze to seal the painted designs. Colors were applied beneath the glaze using a brush, allowing for fine detail in the petals and leaves. The red dotted rim and the crisp outlines of the central bouquet indicate a methodical, possibly workshop-based production, with attention to repetition and balance over individual expression.

The object’s origin is undocumented, though its form and decoration align with late 18th- to early 19th-century ceramic production in Eastern Europe. The illegible inscription on the reverse suggests it may have once carried a maker’s mark or owner’s notation, now lost to wear or damage. No known archival records link it to a specific workshop or collection.

This plate belongs to a broader category of utilitarian ceramics decorated with floral patterns, common in households across the region during the Ottoman and post-Ottoman periods. Such items were often produced in regional kilns for local markets, blending folk aesthetics with imported technical influences. Their prevalence underscores the integration of ornament into everyday life.

Though unsigned and unattributed, the plate exemplifies the quiet persistence of hand-painted ceramic traditions in domestic settings. It survives not as a work of high art but as a testament to vernacular craftsmanship—its value lying in its modest beauty and the continuity of technique it represents across generations of anonymous artisans.