Pe un suport de lemn de brad de formă dreptunghiulară, în ax vertical este reprezentat Isus în ipostaza de Pantocrator.Cu dreapta binecuvintează, în stânga ține globul pământesc. Icoana a fost anterior acoperită cu ferecătură metalică, în momentul de față lipsește, fiind pictate doar zonele mâinilor și feței, restul fiind acoperit cu grund și un strat de culoare verzuie. Desenul este realizat coform canoanelor bizantine, tehnica iluminării treptate.Fața prelungă, barba scurtă, ochii mari, căprui, nasul lung, proporțiile fiind cele consacrate de tradiția bizantină.Părul castaniu, lucrat cu minuțiozitate, lăsat pe umeri. Desenul mâinilor foarte fin, contur roșcat. Se observă urme de cuie metalice în care a fost fixată ferecătura. Peste pictură a fost aplicat vernis.

The painting follows strict Byzantine canons: elongated face, large brown eyes, narrow nose, and short beard conform to established iconographic norms. Hair is meticulously rendered in chestnut tones, falling symmetrically over the shoulders. Hands are delicately outlined in reddish pigment, with fine detailing suggesting anatomical precision within symbolic limits. Gradual tonal modeling, typical of tempera on wood, creates subtle volume without naturalistic shading.

The icon was originally protected by a metal cover, likely of silver or gilded bronze, affixed with nails whose impressions remain visible. This protective layer was removed at some point, exposing the painted surface to environmental wear. The surviving pigment is limited to the face and hands, areas traditionally emphasized for veneration. A layer of varnish was applied post-removal, possibly to stabilize the remaining paint.

Produced within the Eastern Orthodox tradition, this icon reflects the liturgical use of sacred images as objects of devotion. Its adherence to Byzantine models suggests origins in a region influenced by Constantinopolitan artistic norms, possibly the Balkans or Carpathian areas. Such icons were central to private and communal prayer, often placed in home altars or church sanctuaries to facilitate spiritual connection with the divine.

Though partially damaged and altered by time, the icon preserves key elements of medieval Byzantine iconography. Its survival, despite the loss of its protective casing and much of its paint, underscores the enduring role of such images in religious practice. It remains a tangible link to a visual language that shaped Eastern Christian spirituality for centuries, valued more for its ritual function than its aesthetic completeness.