The dish is flat, slightly uneven which gives a pleasant primitive feeling. The foot is short and the side partly unglazed, bevelles toward the bottom edge. Due to the namagake [firing the clay and the glaze simultaneously], the foot was probably distorted and had to be trimmed. The sumi-hajiki method which was to mask the underglaze by applying carbon was sometimes used in the early 17th Century. On this example, there is a trace of both nail and carbon usage. The technique of sumi-hajiki equally indicates the plate was fired using the namagake method.

A dish with the same design from Victoria and Albert Museum is illustrated in Honey W.B. "The Ceramic Art of China and Other Countries of the Far East" (Faber and Faber, London), pl. 188 b.

This example was presented to the V & A in 1878 by the Japanese commissioner to the Paris Exhibition as 17th Century.