Triptych Orthodox Icons

The presented triptych reveals a sequence of scenes rendered in a style characteristic of Byzantine or Eastern Orthodox iconography. The overall impression is one of solemnity and reverence, achieved through restrained color palettes and stylized figures.
In the left panel, we see a central figure lying on a slab, presumably deceased. Two female figures, draped in red robes, stand beside him, their expressions conveying grief and perhaps lamentation. A smaller figure, possibly an older man or another woman, is positioned further back, seemingly observing the scene with a posture of quiet sorrow. The background is dark, suggesting a nocturnal setting or emphasizing the somber mood.
The central panel depicts a more complex composition. Several figures are gathered around what appears to be a building or structure. A figure in red robes stands prominently, holding or supporting another individual who seems to be being carried. Other individuals surround them, their gestures and expressions difficult to decipher precisely but suggesting activity and perhaps mourning. The architectural elements introduce a sense of place and community involvement in the depicted event.
The right panel portrays two figures enveloped in what appears to be a fiery or luminous atmosphere. One figure is larger than the other, with outstretched arms. The smaller figure seems to be ascending towards the larger one, possibly indicating an act of divine intervention or ascension. The intense coloration and swirling forms create a sense of dynamism and spiritual elevation.
The aging of the panels is evident in the cracking and discoloration of the surface, which contributes to the works antique appearance. This patina of age lends a sense of history and authenticity to the imagery.
Subtly, the triptych seems to narrate a progression – from death and mourning (left panel) through communal observance and carrying (central panel) towards an ultimate spiritual resolution or ascension (right panel). The consistent use of stylized figures and symbolic colors reinforces the devotional nature of the work, suggesting it was intended for private contemplation or public veneration within a religious context.