This work is a replica reflecting the decorative sensibility of the Geometric period. At first glance one sees not a distinct mythological scene but an entirely decorative and symbolic composition.
1. The central rosette (sun flower): The radiating rosette at the centre is one of the most frequently encountered motifs on Geometric-period ceramics. Researchers interpret it as the sun, the centre of life, cosmic order and the eternal cycle. The motif is especially widespread on ceramics of the 9th–8th centuries BC.
2. Radial black bands: The black lines spreading outward from the centre create a sense of rays, movement, order and rhythm. Repetition and symmetry, the fundamental characteristics of Geometric art, are clearly visible here.
3. Bird motifs in the outer band: The most striking part is the outer border. Here water birds, long-necked birds, palmette-like leaf motifs, spiral ornaments and cruciform rosettes alternate. These birds are most probably stylised as water birds, swans, ducks or geese. In the Geometric period birds were associated in particular with the sky, with journeying, with the soul and with nature.
This decorative language was most probably inspired by Attic ceramics dated to the Late Geometric period (roughly 760–700 BC). Before the red-figure or black-figure techniques had yet appeared, geometric ornament of this kind prevailed on Greek ceramics. In terms of the terra sigillata application, the clarity of the brushwork, the preservation of the circular composition, the rhythm radiating from the centre and the natural surface colour of the terra sigillata reflect the character of the ancient examples well.
This piece was reproduced using the terra sigillata technique, remaining faithful to the original ancient example.