This dish comes from a formative period in the development of technique and design at Iznik. The green colour seen here was at this time a recent innovation which, together with a number of other aspects led to the production of the great "Damascus group" dishes of the 1540s and 1550s. The dish is one of a small group which share a softly cusped rim, a glaze that is more opaque and less shiny than most, a palette that includes small amounts of an intense cobalt-blue with the other softer colours, a rapid, spontaneous feel to the drawing, and a relatively large size. Atasoy and Raby place this group together under the heading "The Tentative Beginnings 1535-40" (Atasoy, Nurhan and Raby, Julian: Iznik, the Pottery of Ottoman Turkey, London, 1989, p.132).
The central design here is obviously related in form to that of lot 318; both share a central rosette springing from a tuft of leaves ringed by a spiral formed of smaller floral sprays. The construction here is more subtle however; the alternate flowers forming the spiral actually spring from behind the rosette. This seems to be part of the origin of the designs noted by Atasoy and Raby with the triple scroll ground (op.cit, pp.238-9). Another dish which links different elements of the designs was exhibited in Alexandria (Les arts décoratifs musulmans, exhibition catalogue, Alexandria, 1925, pl.22a). There one can see the saz leaf elements so notable in lot 318, but placed around a central rosette formed from elements closely related to the border of the present dish.
The design has as one of its motifs a feature that links it to the magnificent series of "pomegranate, artichoke and tree" dishes. The major element in each border here, which is then placed in groups of three in the larger elements within the band around the central rosette, is, in its grouped form, found precisely in the Victoria and Albert Museum dish (Atasoy and Raby, op.cit, pl.343), and in a related form in two others. From this it is then used in the centre of a few of the increasingly complex palmette designs and then disappears. Its appearance here must be one of its very first as a motif.