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Following the guideline of a bracketed rim eight panels ride over flange and well, each filled with two tassels and a brocaded ball on a bed of ribbons. The open-ended fillers have geometric small panels at the top and knotted ribbons below. Within the band of its ten-bracket Kraak frame a lotus spray with ribbon curves from left to right in a half circle with a variety of fancy leaves. A flaming leaf completes the tip of the spray with a small bird by its side. The ten outer panels do not coincide with the brackets of the rim and are each filled with a leafy peach. The dividers are simple outlines with a sketchy elongated leaf. The base has three similar marks and is cracked.

From the last quarter of the 16th until mid 17th century Chinese dishes with petal panels were the common export wares. The striking effect of the new style of decoration made the design popular not only with the Persian potter but also across western Europe. The design originated in the Tang dynasty when the flattened petals of the lotus decorated Buddhist paintings, stone tiles and various artefacts. The outline was also used on Central Asian slip-painted wares and possibly Sultanabad dishes. The occasional late Yuan dish brings the design forward in time and as a single unit it is used in bands of panels on the shoulder or the base of 15th century Chinese ewers and vases. Plain dividers between the panels first appear on jars around 1500 and more often during the Jiajing rule. The panels are eventually enhanced with jewel symbols and flowers when used as a framing device on Kraak dishes.

In addition to the regular demands of the Asian market, specific orders, first from the Portuguese then the Dutch, called for an increased production of large dishes and eventually new shapes. At this stage these striking bands of petal panels reappear and are copied with gusto by the Persian potter along with other Chinese ornaments. These panels vary in number but they are usually six or eight according to the size of the dish. Flowers, fruit, birds and sacred emblems are adopted as decorations and the simplified leafy peach motif becomes especially popular in both China and Persia. In the 17th century Persian potters reinterpret the human figures copied from Chinese models in a comic manner.

932-1886