Exceptional 17th century Portuguese faience display plate of wide raised lip and dense cobalt-blue and manganese-purple ‘desenho miúdo’ decorative motifs, influenced by Chinese Ming-Qing transitional porcelain (1620–1683) aesthetics. Reinforcing the importance of this plate it is essential to underline the paste quality and the glaze fineness as well as the mastery of the cobalt-blue decoration. In the well, defined by polylobate filleting, a dense and complex Chinese landscape with three buildings of lusooriental characteristics, two with smoking chimneys, amongst trees, vegetal motifs and a large flowering peony. Centrally placed under a cloudy sky, a Chinese male figure dressed in a tunic leans on a staff, while holding a document in his left hand, perhaps a music sheet. Highlighting the central scene a white band with six-bead pyramidal groups alternating with small foliage appointments. The lip is highlighted by four elliptic cartouches encircling groups of three paper scrolls, similar to music sheets and inspired by Chinese painting scrolls—insignia of scholars—wrapped in undulated ribbons, alternating with trees and clouds landscapes with seated Chinese male figures, of which two hold a document (similar to the central figure), and the remaining two sit by an oriental percussion instrument. The wavy textured under lip, evidencing the potter’s wheel throwing work, is decorated by seven blue and purple foliage branches. It is likely that both the central figure and the four figures on the plate lip, allude to the history of Lan Caihe (cf.: n.o 55), one of the eight Immortals of Chinese mythology, who travelled from city to city, composing and singing songs that predicted the future and alluded to immortality. This musical propensity turned Lan Caihe into the patron of travelling poet-singers. This plate is one of the most complex and representative pieces for the Chinese porcelain taste in Portugal, which spread throughout Europe from the early 16th century onwards. This taste was absorbed by the Portuguese potters in the production of faience pieces for most of the 17th century, becoming a main characteristic of the Lisbon workshops exoticism and of the taste for ‘chinoiseries’ revealed by Portuguese faience.