În spațiul dreptunghiular creat prin scobire(rezultă o ramă de 3 cm lățime), sunt pictați, în ax vertical, Sfinții trei ierarhi Vasile, Grigorie și Ioan. Stratul pictural fiind înnegrit, nu se pot identifica exact fiecare din cei trei sfinți. Probabil ca cel din centru să fie Sf. Ioan Gură de Aur, cu părul și barba albe, în stânga fiind sf. Vasile cel Mare iar în dreapta sf. Grigorie Noul Teolog, toți în picioare. Toți trei țin în mîini cartea Sfântă.Veșmintele sunt arhierești, patrafirele au cruci în linii subțiri, doi dintre ei au veșmântul împodobit cu șiruri de puncte albe. Fondul este aurit, aureolele trasate cu linii subțiri, negre, în stilul icoanelor lipovenești. Pe partea de sus a ramei o inscripție în același stil. La mijloc chipul lui Isus și monogramul Acestuia.

The painting employs traditional Byzantine iconographic methods: gold leaf for the background, thin black lines for halos and decorative patterns, and stylized drapery with minimal modeling. Vestments feature subtle embroidery rendered as rows of white dots and fine cross motifs. The figures are rigidly frontal, emphasizing spiritual presence over naturalism. The technique reflects regional Lipovenesc practices, where precision in line and symbolic detail outweighed realistic rendering.

The icon’s origin is undocumented, but its style and materials suggest production in a Moldavian or Wallachian workshop during the late medieval or early modern period. The carved wooden frame and layered pigment indicate it was created for liturgical use, likely in a monastery or private chapel. Surface deterioration from time and environmental exposure has obscured facial features and finer embellishments, though the core composition endures.

This icon belongs to a broader tradition of Hierarch icons, common in Eastern Orthodox communities where the Three Hierarchs were venerated together for their contributions to theology and liturgy. Their joint depiction reinforced ecclesiastical continuity and intellectual authority. The use of gold and intricate textile patterns aligned with the sacred nature of the subject, distinguishing the image as an object of devotion rather than mere decoration.

Though unsigned and partially degraded, the icon remains a tangible link to the devotional practices of Orthodox communities in the Romanian lands. Its adherence to established iconographic norms underscores the endurance of traditional forms despite regional variations. As a surviving example of Lipovenesc craftsmanship, it contributes to the understanding of how theological themes were visually sustained across generations.