Pictură în oglindă, pe spatele unei bucăți de sticlă, ax vertical. Cuvioasa Paraschiva, redată în stilul specific Niculei:într-o mână o cruce împodobită cu raze și motive florale, în cealaltă o ramură verde. Chipul este trasat cu lejeritate, fața prelungă, expresivă. Pe cap poartă o tocă înaltă, stil occidental. Părul lung, ondulat , cade pe umeri. Veșminte în culori vii(galben, roșu, verde, alb).Câmp alb-gri, decorat cu același motiv floral care se repetă la cruce, o rozetă în culorile alb și verde. Icoana are caracteristicile specifice picturii niculene: stângăcia, simplitatea și primitivismul desenului; compoziția sumară, redusă la extrem, ornamentica de factură populară, intensitatea culorilor. Stratul pictural exfoliat. Rama profilată de culoare neagră, este completată cu un "dos" subțire.

Executed in the Niculite style, the painting exhibits deliberate simplicity and asymmetry. Lines are loosely drawn, forms are flattened, and proportions are intentionally unrefined. Colors—vivid yellow, red, green, and white—are applied boldly without shading or gradation. The floral ornamentation on the cross and background repeats in a rhythmic, folk-inspired pattern, reinforcing a handmade, non-academic aesthetic.

The work originates from a regional tradition of glass icon painting in Moldavia or Wallachia, likely produced in the late 19th or early 20th century. Its fragmented state suggests it was once part of a household altar, possibly damaged during relocation or use. The thin black frame and glass support indicate it was designed for domestic veneration rather than institutional display.

This icon reflects the persistence of vernacular religious art amid increasing Western influence. The Western-style tall hat worn by the saint signals cultural blending, while the primitive rendering and folk motifs preserve local artistic values. Such images were often made by itinerant painters or devout amateurs, serving as intimate objects of prayer in rural homes where formal church art was inaccessible.

As a surviving example of Niculite iconography, it contributes to the understanding of how Orthodox devotion adapted in marginalized communities. Its preservation in ethnographic collections highlights its value as a cultural artifact rather than a refined artwork. The piece stands as evidence of a quiet, enduring tradition that prioritized spiritual presence over technical mastery.